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Who is missing: Shaggy, Fred, Velma, Daphne | Characters - Scooby Doo Daily
Characters
Mystery Incorporated
The Gang (Mystery, Inc)
Fred Jones, Daphne Blake, Velma Dinkley, Shaggy Rogers and Scooby Doo are the five members of the Mystery Inc team that go around the world (with their van The Mystery Machine) and solve mysteries. Fred (the blonde one) is their leader that most of the time drives the van and sets traps, his color is blue. Daphne loves fashion and she usually screams Jeepers, she loves pink and purple. Velma is the brain of the team, with great knowladge, technology, Velma uses the clues to solve the mystery, her color is red (and orange). Shaggy is the best friend of the dog, Shaggy, they love eating, but they never get fat. With color of green (and red) Shaggy always messes up the trap with Scooby (the are also always the bate, doing it for scooby Snacks) but at the end, after lots of chasing, they catch the monster! The gang in 99% of the episodes were together without any private problems until Mystery Incorporated, as drama came between Fred and Daphne, Velma, Shaggy and Scooby (teen and love problems). Click here to go to the page "The Gang"
Villains
"What is it?" always turns to "Who Is It?"! Mystery, Inc always catch the villains, and it turns out to be someone of the suspects, and mostly, the one that is unexpected (or maybe the most expected, cause we will never expect the most expected, but the most unexpected)! Check out our page with info about all villains (still being updated) that Scooby and the gang has ever catched! Click here to go to the page "Villains"
The Original Mystery Incorporated
Years ago, just like the one today, there was a team solving mysteries in Crystal Cove too! The original Mystery Incorporated held the four members and their parrot that today has gone crazy. They are still missing, at least two of them, as they seeked the lost treasure of Crystal Cove! Click here to go to the page "Original Mystery, Inc"
Crystal Cove
This page has info on all the other citizen of Crystal Cove that appear in the series more than once and the bring a big role and leave a huge mark on the eyes. It includes the mayor of the city and father of Fred, Joner Sr, also the sheriff Bronson Stone, then the two-times-behind-mask-and-still-no-body-knows-who-she-really-is girl, Alice May and others, click here to go to the page "Crystal Cove" (in Characters)
The Hex Girls
The Hex Girls are gonna put a spell on you! The most famous girl rock band in the Scooby-Doo! world are these three girls that can play the guitar and the loud drums! They've appeared in two of the TV shows series and in two movies with the famous songs "I'm A Hex Girl", "Earth, wind, fire and air" and "Trap Of Love"! Click here to go to the page "The Hex Girls"
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Chimichurris, Dagwood, Hot Brown, Shawarma, and Muffuletta are all types of what? | The 13 Ghosts of Scooby-Doo | Scoobypedia | Fandom powered by Wikia
The 13 Ghosts of Scooby-Doo
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The 13 Ghosts of Scooby-Doo
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The 13 Ghosts of Scooby-Doo is the seventh incarnation of the Hanna-Barbera Saturday morning cartoon, Scooby-Doo . This was the final first-run version of the original 1969-86 broadcast run of the series, it premiered on September 7, 1985 and ran for one season on ABC as a half-hour program and then ended on December 7, 1985. Thirteen episodes of the show were made in 1985. It replaced Scary Scooby Funnies (a repackaging of earlier shows, and another repackaged series, Scooby's Mystery Funhouse , followed).
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Plot
In the initial episode the gang are thrown off course on a trip to Honolulu in Daphne's plane landing instead in Tibet. While inside a temple, Scooby and Shaggy are tricked into opening the Chest of Demons , which houses thirteen of the most terrifying and powerful ghosts and demons ever to walk the face of the Earth. The ghosts can only be returned to the chest by those who originally set them free; thus, the gang embark on a worldwide quest to recapture them before they wreak irreversible havoc upon the world.
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Contemporary feel
13 Ghosts was produced at a time when the 1984 Columbia Pictures film, Ghostbusters , was very popular, and two other animated series during that time was made, both about ghostbusting, one being Filmation's Ghostbusters and the other being The Real Ghostbusters . The Real Ghostbusters was the animated series based off the hit movie Ghostbusters , although Filmation's Ghostbusters was based on a live-action television show from 1975-1976 titled The Ghost Busters , which despite the title has nothing to do with the 1984 movie. In response to this, unlike previous Scooby series where the ghosts were criminals in costumes, the titular ghosts are depicted as being real supernatural beings, thus also attempting to give this series a much darker tone while still keeping much of the lighthearted humor, 13 Ghosts, much like The New Scooby-Doo Mysteries , attempted to give the Scooby-Doo franchise a more contemporary feel.
Daphne and Shaggy were given redesigns to fit them into the mid-1980s style. Daphne would slightly resemble Debbie from Speed Buggy and April O'Neil from Teenage Mutant Ninja Turtles . They, along with Scooby and Scrappy, were joined in this season by a young Mexican con-artist named Flim-Flam, and a warlock mentor, Vincent Van Ghoul (a parody of Vincent Price , who voiced the character as well). Fred Jones and Velma Dinkley were again completely absent from the series; they had not been major characters in the show since the addition of Scrappy-Doo in 1979.
The show featured self-parody, pop culture references, and fourth-wall-breaking gags, typical of Looney Tunes shorts and Teenage Mutant Ninja Turtles. This was the influence of associate producer Tom Ruegger , who would later go on to produce A Pup Named Scooby-Doo , Tiny Toon Adventures , and Animaniacs . Despite the show's title and the continuity in which it claims that thirteen ghosts have escaped from the Chest of Demons , only eleven ghosts are seen and captured throughout the series, including the ghosts from the pilot episode, although the ghost ship captain might have been one of the 13 ghosts. Taking into account two 'lost episodes' does bring the total to 13.
The 13 Ghosts of Scooby-Doo was the last series for which Heather North voiced Daphne. The series also marked the final Saturday morning Scooby series to feature Scrappy-Doo, and was the only Scooby series that had a pre-adolescent child (Flim Flam) become part of the Mystery, Inc. gang. The show was canceled by ABC in March 1986 and replaced with re-runs of Laff-a-Lympics . No new Scooby series was there to take its place that September, the first time in a decade-and-a-half that Scooby-Doo did not air on a Saturday.
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On Feb 21, 1953 British scientist Francis Crick and American James D. Watson unlocked the structure of what? | Watson and Crick discover chemical structure of DNA - Feb 28, 1953 - HISTORY.com
This Day In History: 02/28/1953 - DNA Structure Discovered
On February 28th many historical events occurred. These events are recapped by Russell Mitchell in this video clip from "This Day in History". The discovery of DNA by James Watson and Frances Crick being a major one for the scientific community. Not only was DNA discovered on this day, but the Republican Party was founded in Wisconsin. The well-known album Thriller by Michael Jackson won eight Emmy awards as well.
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Watson and Crick discover chemical structure of DNA
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On this day in 1953, Cambridge University scientists James D. Watson and Frances H.C. Crick announce that they have determined the double-helix structure of DNA, the molecule containing human genes.
Though DNA–short for deoxyribonucleic acid–was discovered in 1869, its crucial role in determining genetic inheritance wasn’t demonstrated until 1943. In the early 1950s, Watson and Crick were only two of many scientists working on figuring out the structure of DNA. California chemist Linus Pauling suggested an incorrect model at the beginning of 1953, prompting Watson and Crick to try and beat Pauling at his own game. On the morning of February 28, they determined that the structure of DNA was a double-helix polymer, or a spiral of two DNA strands, each containing a long chain of monomer nucleotides, wound around each other. According to their findings, DNA replicated itself by separating into individual strands, each of which became the template for a new double helix. In his best-selling book, The Double Helix (1968), Watson later claimed that Crick announced the discovery by walking into the nearby Eagle Pub and blurting out that “we had found the secret of life.” The truth wasn’t that far off, as Watson and Crick had solved a fundamental mystery of science–how it was possible for genetic instructions to be held inside organisms and passed from generation to generation.
Watson and Crick’s solution was formally announced on April 25, 1953, following its publication in that month’s issue of Nature magazine. The article revolutionized the study of biology and medicine. Among the developments that followed directly from it were pre-natal screening for disease genes; genetically engineered foods; the ability to identify human remains; the rational design of treatments for diseases such as AIDS; and the accurate testing of physical evidence in order to convict or exonerate criminals.
Crick and Watson later had a falling-out over Watson’s book, which Crick felt misrepresented their collaboration and betrayed their friendship. A larger controversy arose over the use Watson and Crick made of research done by another DNA researcher, Rosalind Franklin, whose colleague Maurice Wilkins showed her X-ray photographic work to Watson just before he and Crick made their famous discovery. When Crick and Watson won the Nobel Prize in 1962, they shared it with Wilkins. Franklin, who died in 1958 of ovarian cancer and was thus ineligible for the award, never learned of the role her photos played in the historic scientific breakthrough.
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Which atom, with atomic number 6, is present in all known life forms? | francis crick - 必应
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Francis Crick
Francis Harry Compton Crick OM FRS (8 June 1916 – 28 July 2004) was a British molecular biologist, biophysicist, and neuroscientist, most noted for being a co-discoverer of the structure of the DNA molecule in 1953 with James Watson. Together with Watson and Maurice Wilkins, he was jointly awarded the 1962 Nobel Prize in Physiology or Medicine "for their discoveries concerning the molecular structure of nucleic acids and its significance for information transfer in living material". Crick was an important theoretical molecular biologist ... (展开) and played a crucial role in research related to revealing the genetic code. He is widely known for use of the term "central dogma" to summarize the idea that genetic information flow in cells is essentially one-way, from DNA to RNA to protein. During the remainder of his career, he held the post of J.W. Kieckhefer Distinguished Research Professor at the Salk Institute for Biological Studies in La Jolla, California. His later research centered on theoretical neurobiology and attempts to advance the scientific study of human consciousness. He remained in this post until his death; "he was editing a manuscript on his death bed, a scientist until the bitter end" according to Christof Koch.
Francis Crick Institute
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The Francis Crick Institute is a £660,000,000 biomedical research centre currently under construction, located in London, United Kingdom. The Francis Crick Institute is a partnership between Cancer Research UK, Imperial College London, King's College London, the Medical Research Council, University ...
The Francis Crick Institute
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The Francis Crick Institute is a £660,000,000 biomedical research centre currently under construction, located in London, United Kingdom. The Francis Crick Institute is a partnership between Cancer Research UK, Imperial College London, King's College London, the Medical Research Council, University ...
Francis Crick Early life and education
Crick was the first son of Harry Crick (1887–1948) and Annie Elizabeth Crick (née Wilkins; 1879–1955). He was born and raised in Weston Favell, then a small village near the English town of Northampton, in which Crick’s father and uncle ran the family’s boot and shoe factory. His grandfather, Walter Drawbridge Crick (1857–1903), an amateur naturalist, wrote a survey of local foraminifera (single-celled protists with shells), corresponded with Charles Darwin, and had two gastropods (snails or slugs) named after him.
At an early age, Francis was attracted to science and what he could learn about it from books. As a child, he was taken to church by his parents. But by about age 12, he said he did not want to go anymore, as he preferred a scientific search for answers over religious belief.
Walter Crick, his uncle, lived in a small house on the south side of Abington Avenue; he had a shed at the bottom of his little garden where he taught Crick to blow glass, do chemical experiments and to make photographic prints. When he was eight or nine he transferred to the most junior form of the Northampton Grammar School, on the Billing Road. This was about 1 1/4 miles from his home so he could walk there and back, by Park Avenue South and Abington Park Crescent, but he more often went by bus or, later, by bicycle. The teacher – a Miss Holding – was an inspired teacher and made everything interesting. The teaching in the higher forms was satisfactory, but not as stimulating. After the age of 14, he was educated at Mill Hill School in London (on scholarship), where he studied mathematics, physics, and chemistry with his best friend John Shilston. He shared the Walter Knox Prize for Chemistry on Mill Hill School's Foundation Day, Friday, 7 July 1933. He declared that his success was inspired by the quality of teaching he received whilst a pupil at Mill Hill.
At the age of 21, Crick earned a Bachelor of Science degree in physics from University College London. Crick had failed to gain a place at a Cambridge college, probably through failing their requirement for Latin. Crick began his PhD at UCL but was interrupted by WWII. He later became a PhD student and Honorary Fellow of Gonville and Caius College, Cambridge and mainly worked at the Cavendish Laboratory and the Medical Research Council (MRC) Laboratory of Molecular Biology in Cambridge. He was also an Honorary Fellow of Churchill College, Cambridge and of University College, London.
Crick began a Ph.D. research project on measuring viscosity of water at high temperatures (which he later described as "the dullest problem imaginable") in the laboratory of physicist Edward Neville da Costa Andrade at University College, London, but with the outbreak of World War II (in particular, an incident during the Battle of Britain when a bomb fell through the roof of the laboratory and destroyed his experimental apparatus), Crick was deflected from a possible career in physics. During his second year as a PhD student, however, he was awarded the Carey Foster Research Prize, a great honour. He did postdoctoral work at the Polytechnic Institute of Brooklyn.
During World War II, he worked for the Admiralty Research Laboratory, from which emerged a group of many notable scientists, including David Bates, Robert Boyd, George Deacon, John Gunn, Harrie Massey, and Nevill Mott; he worked on the design of magnetic and acoustic mines, and was instrumental in designing a new mine that was effective against German minesweepers.
Francis Crick Post-World War II life and work
In 1947, aged 31, Crick began studying biology and became part of an important migration of physical scientists into biology research. This migration was made possible by the newly won influence of physicists such as Sir John Randall, who had helped win the war with inventions such as ``: radar. Crick had to adjust from the "elegance and deep simplicity" of physics to the "elaborate chemical mechanisms that natural selection had evolved over billions of years." He described this transition as, "almost as if one had to be born again." According to Crick, the experience of learning physics had taught him something important—hubris—and the conviction that since physics was already a success, great advances should also be possible in other sciences such as biology. Crick felt that this attitude encouraged him to be more daring than typical biologists who tended to concern themselves with the daunting problems of biology and not the past successes of physics.
For the better part of two years, Crick worked on the physical properties of cytoplasm at Cambridge's Strangeways Research Laboratory, headed by Honor Bridget Fell, with a Medical Research Council studentship, until he joined Max Perutz and John Kendrew at the Cavendish Laboratory. The Cavendish Laboratory at Cambridge was under the general direction of Sir Lawrence Bragg, who had won the Nobel Prize in 1915 at the age of 25. Bragg was influential in the effort to beat a leading American chemist, Linus Pauling, to the discovery of DNA's structure (after having been pipped at the post by Pauling's success in determining the alpha helix structure of proteins). At the same time Bragg's Cavendish Laboratory was also effectively competing with King's College London, whose Biophysics department was under the direction of Sir John Randall. (Randall had refused Crick's application to work at King's College.) Francis Crick and Maurice Wilkins of King's College were personal friends, which influenced subsequent scientific events as much as the close friendship between Crick and James Watson. Crick and Wilkins first met at King's College[citation needed] and not, as erroneously recorded by two authors, at the Admiralty during World War II.
He married twice, fathered three children and was the grandfather of six grandchildren; his brother Anthony (born in 1918) predeceased him in 1966.
Spouses:
Ruth Doreen Crick, née Dodd (b. 1913, m. 18 February 1940 – 8 May 1947. d. 2011), became Mrs. James Stewart Potter
Odile Crick, née Speed (b. 11 August 1920, m. 14 August 1949 – 28 July 2004, d. 5 July 2007)
Children:
Michael Francis Compton (b. 25 November 1940) [by Doreen Crick]
Gabrielle Anne (b. 15 July 1951) [by Odile Crick]
Jacqueline Marie-Therese [later Nichols] (b. 12 March 1954, d. 28 February 2011) [by Odile Crick];
Grandchildren
Francis Crick Death
Crick died of colon cancer on the morning of 28 July 2004 at the University of California, San Diego (UCSD) Thornton Hospital in La Jolla; he was cremated and his ashes were scattered into the Pacific Ocean. A public memorial was held on 27 September 2004 at the Salk Institute, La Jolla, near San Diego, California; guest speakers included James Watson, Sydney Brenner, Alex Rich, Seymour Benzer, Aaron Klug, Christof Koch, Pat Churchland, Vilayanur Ramachandran, Tomaso Poggio, Leslie Orgel, Terry Sejnowski, his son Michael Crick, and his youngest daughter Jacqueline Nichols. A private memorial for family and colleagues was held on 3 August 2004.
Francis Crick Research
Crick was interested in two fundamental unsolved problems of biology: how molecules make the transition from the non-living to the living, and how the brain makes a conscious mind. He realized that his background made him more qualified for research on the first topic and the field of biophysics. It was at this time of Crick’s transition from physics to biology that he was influenced by both Linus Pauling and Erwin Schrödinger. It was clear in theory that covalent bonds in biological molecules could provide the structural stability needed to hold genetic information in cells. It only remained as an exercise of experimental biology to discover exactly which molecule was the genetic molecule. In Crick’s view, Charles Darwin’s theory of evolution by natural selection, Gregor Mendel’s genetics and knowledge of the molecular basis of genetics, when combined, revealed the secret of life. Crick had the very optimistic view that life would very soon be created in a test tube. However, some people (such as fellow researcher and colleague Esther Lederberg) thought that Crick was unduly optimistic
It was clear that some macromolecule such as a protein was likely to be the genetic molecule. However, it was well known that proteins are structural and functional macromolecules, some of which carry out enzymatic reactions of cells. In the 1940s, some evidence had been found pointing to another macromolecule, DNA, the other major component of chromosomes, as a candidate genetic molecule. In the 1944 Avery-MacLeod-McCarty experiment, Oswald Avery and his collaborators showed that a heritable phenotypic difference could be caused in bacteria by providing them with a particular DNA molecule.
However, other evidence was interpreted as suggesting that DNA was structurally uninteresting and possibly just a molecular scaffold for the apparently more interesting protein molecules. Crick was in the right place, in the right frame of mind, at the right time (1949), to join Max Perutz’s project at the University of Cambridge, and he began to work on the X-ray crystallography of proteins. X-ray crystallography theoretically offered the opportunity to reveal the molecular structure of large molecules like proteins and DNA, but there were serious technical problems then preventing X-ray crystallography from being applicable to such large molecules.
1949–1950
Crick taught himself the mathematical theory of X-ray crystallography. During the period of Crick's study of X-ray diffraction, researchers in the Cambridge lab were attempting to determine the most stable helical conformation of amino acid chains in proteins (the Alpha helix). Linus Pauling was the first to identify the 3.6 amino acids per helix turn ratio of the Alpha helix. Crick was witness to the kinds of errors that his co-workers made in their failed attempts to make a correct molecular model of the α helix; these turned out to be important lessons that could be applied, in the future, to the helical structure of DNA. For example, he learned the importance of the structural rigidity that double bonds confer on molecular structures which is relevant both to peptide bonds in proteins and the structure of nucleotides in DNA.
1951–1953: DNA structure
In 1951 and 1952, together with William Cochran and Vladimir Vand, Crick assisted in the development of a mathematical theory of X-ray diffraction by a helical molecule. This theoretical result matched well with X-ray data for proteins that contain sequences of amino acids in the Alpha helix conformation. Helical diffraction theory turned out to also be useful for understanding the structure of DNA.
Late in 1951, Crick started working with James Watson at Cavendish Laboratory at the University of Cambridge, England. Using "Photo 51" (the X-ray diffraction results of Rosalind Franklin and her graduate student Raymond Gosling of King's College London, given to them by Gosling and Franklin's colleague Maurice Wilkins), Watson and Crick together developed a model for a helical structure of DNA, which they published in 1953. For this and subsequent work they were jointly awarded the Nobel Prize in Physiology or Medicine in 1962 with Maurice Wilkins.
When James Watson came to Cambridge, Crick was a 35-year-old graduate student (due to his work during WWII) and Watson was only 23, but he already had a Ph.D. They shared an interest in the fundamental problem of learning how genetic information might be stored in molecular form. Watson and Crick talked endlessly about DNA and the idea that it might be possible to guess a good molecular model of its structure. A key piece of experimentally-derived information came from X-ray diffraction images that had been obtained by Maurice Wilkins, Rosalind Franklin, and their research student, Raymond Gosling. In November 1951, Wilkins came to Cambridge and shared his data with Watson and Crick. Alexander Stokes (another expert in helical diffraction theory) and Wilkins (both at King's College) had reached the conclusion that X-ray diffraction data for DNA indicated that the molecule had a helical structure—but Franklin vehemently disputed this conclusion. Stimulated by their discussions with Wilkins and what Watson learned by attending a talk given by Franklin about her work on DNA, Crick and Watson produced and showed off an erroneous first model of DNA. Their hurry to produce a model of DNA structure was driven in part by the knowledge that they were competing against Linus Pauling. Given Pauling's recent success in discovering the Alpha helix, they feared that Pauling might also be the first to determine the structure of DNA.
Many have speculated about what might have happened had Pauling been able to travel to Britain as planned in May 1952. As it was, his political activities caused his travel to be restricted by the U. S. government and he did not visit the UK until later, at which point he met none of the DNA researchers in England. At any rate he was preoccupied with proteins at the time, not DNA. Watson and Crick were not officially working on DNA. Crick was writing his Ph.D. thesis; Watson also had other work such as trying to obtain crystals of myoglobin for X-ray diffraction experiments. In 1952, Watson performed X-ray diffraction on tobacco mosaic virus and found results indicating that it had helical structure. Having failed once, Watson and Crick were now somewhat reluctant to try again and for a while they were forbidden to make further efforts to find a molecular model of DNA.
Of great importance to the model building effort of Watson and Crick was Rosalind Franklin's understanding of basic chemistry, which indicated that the hydrophilic phosphate-containing backbones of the nucleotide chains of DNA should be positioned so as to interact with water molecules on the outside of the molecule while the hydrophobic bases should be packed into the core. Franklin shared this chemical knowledge with Watson and Crick when she pointed out to them that their first model (from 1951, with the phosphates inside) was obviously wrong.
Crick described what he saw as the failure of Maurice Wilkins and Rosalind Franklin to cooperate and work towards finding a molecular model of DNA as a major reason why he and Watson eventually made a second attempt to do so. They asked for, and received, permission to do so from both William Lawrence Bragg and Wilkins. In order to construct their model of DNA, Watson and Crick made use of information from unpublished X-ray diffraction images of Franklin's (shown at meetings and freely shared by Wilkins), including preliminary accounts of Franklin's results/photographs of the X-ray images that were included in a written progress report for the King's College laboratory of Sir John Randall from late 1952.
It is a matter of debate whether Watson and Crick should have had access to Franklin's results without her knowledge or permission, and before she had a chance to formally publish the results of her detailed analysis of her X-ray diffraction data which were included in the progress report. However, Watson and Crick found fault in her steadfast assertion that, according to her data, a helical structure was not the only possible shape for DNA—so they had a dilemma. In an effort to clarify this issue, Max Ferdinand Perutz later published what had been in the progress report, and suggested that nothing was in the report that Franklin herself had not said in her talk (attended by Watson) in late 1951. Further, Perutz explained that the report was to a Medical Research Council (MRC) committee that had been created in order to "establish contact between the different groups of people working for the Council". Randall's and Perutz's laboratories were both funded by the MRC.
It is also not clear how important Franklin's unpublished results from the progress report actually were for the model-building done by Watson and Crick. After the first crude X-ray diffraction images of DNA were collected in the 1930s, William Astbury had talked about stacks of nucleotides spaced at 3.4 angström (0.34 nanometre) intervals in DNA. A citation to Astbury's earlier X-ray diffraction work was one of only eight references in Franklin's first paper on DNA. Analysis of Astbury's published DNA results and the better X-ray diffraction images collected by Wilkins and Franklin revealed the helical nature of DNA. It was possible to predict the number of bases stacked within a single turn of the DNA helix (10 per turn; a full turn of the helix is 27 angströms [2.7 nm] in the compact A form, 34 angströms [3.4 nm] in the wetter B form). Wilkins shared this information about the B form of DNA with Crick and Watson. Crick did not see Franklin's B form X-ray images (Photo 51) until after the DNA double helix model was published.
One of the few references cited by Watson and Crick when they published their model of DNA was to a published article that included Sven Furberg's DNA model that had the bases on the inside. Thus, the Watson and Crick model was not the first "bases in" model to be proposed. Furberg's results had also provided the correct orientation of the DNA sugars with respect to the bases. During their model building, Crick and Watson learned that an antiparallel orientation of the two nucleotide chain backbones worked best to orient the base pairs in the centre of a double helix. Crick's access to Franklin's progress report of late 1952 is what made Crick confident that DNA was a double helix with antiparallel chains, but there were other chains of reasoning and sources of information that also led to these conclusions.
As a result of leaving King's College for Birkbeck College, Franklin was asked by John Randall to give up her work on DNA. When it became clear to Wilkins and the supervisors of Watson and Crick that Franklin was going to the new job, and that Linus Pauling was working on the structure of DNA, they were willing to share Franklin's data with Watson and Crick, in the hope that they could find a good model of DNA before Pauling was able. Franklin's X-ray diffraction data for DNA and her systematic analysis of DNA's structural features was useful to Watson and Crick in guiding them towards a correct molecular model. The key problem for Watson and Crick, which could not be resolved by the data from King's College, was to guess how the nucleotide bases pack into the core of the DNA double helix.
Another key to finding the correct structure of DNA was the so-called Chargaff ratios, experimentally determined ratios of the nucleotide subunits of DNA: the amount of guanine is equal to cytosine and the amount of adenine is equal to thymine. A visit by Erwin Chargaff to England in 1952 reinforced the salience of this important fact for Watson and Crick. The significance of these ratios for the structure of DNA were not recognized until Watson, persisting in building structural models, realized that A:T and C:G pairs are structurally similar. In particular, the length of each base pair is the same. Chargaff had also pointed out to Watson that, in the aqueous, saline environment of the cell, the predominant tautomers of the pyrimidine (C and T) bases would be the amine and keto configurations of cytosine and thymine, rather than the imino and enol forms that Crick and Watson had assumed. They consulted Jerry Donohue who confirmed the most likely structures of the nucleotide bases. The base pairs are held together by hydrogen bonds, the same non-covalent interaction that stabilize the protein α-helix. The correct structures were essential for the positioning of the hydrogen bonds. These insights led Watson to deduce the true biological relationships of the A:T and C:G pairs. After the discovery of the hydrogen bonded A:T and C:G pairs, Watson and Crick soon had their anti-parallel, double helical model of DNA, with the hydrogen bonds at the core of the helix providing a way to "unzip" the two complementary strands for easy replication: the last key requirement for a likely model of the genetic molecule. As important as Crick's contributions to the discovery of the double helical DNA model were, he stated that without the chance to collaborate with Watson, he would not have found the structure by himself.
Crick did tentatively attempt to perform some experiments on nucleotide base pairing, but he was more of a theoretical biologist than an experimental biologist. There was another near-discovery of the base pairing rules in early 1952. Crick had started to think about interactions between the bases. He asked John Griffith to try to calculate attractive interactions between the DNA bases from chemical principles and quantum mechanics. Griffith's best guess was that A:T and G:C were attractive pairs. At that time, Crick was not aware of Chargaff's rules and he made little of Griffith's calculations, although it did start him thinking about complementary replication. Identification of the correct base-pairing rules (A-T, G-C) was achieved by Watson "playing" with cardboard cut-out models of the nucleotide bases, much in the manner that Linus Pauling had discovered the protein alpha helix a few years earlier. The Watson and Crick discovery of the DNA double helix structure was made possible by their willingness to combine theory, modeling and experimental results (albeit mostly done by others) to achieve their goal.
The DNA double helix structure proposed by Watson and Crick was based upon "Watson-Crick" bonds between the four bases most frequently found in DNA (A, C, T, G) and RNA (A, C, U, G). However, later research showed that triple-stranded, quadruple-stranded and other more complex DNA molecular structures required Hoogsteen base pairing. The entire field of synthetic biology began with work by researchers such as Erik T. Kool, in which bases other than A, C, T and G are used in a synthetic DNA. In addition to synthetic DNA there are also attempts to construct synthetic codons, synthetic endonucleases, synthetic proteins and synthetic zinc fingers. Using synthetic DNA, instead of there being 43 codons, if there are n new bases there could be as many as n3 codons. Research is currently being done to see if codons can be expanded to more than 3 bases. These new codons can code for new amino acids. These synthetic molecules can be used not only in medicine, but in creation of new materials.
The discovery was made on 28 February 1953; the first Watson/Crick paper appeared in Nature on 25 April 1953. Sir Lawrence Bragg, the director of the Cavendish Laboratory, where Watson and Crick worked, gave a talk at Guy's Hospital Medical School in London on Thursday 14 May 1953 which resulted in an article by Ritchie Calder in The News Chronicle of London, on Friday 15 May 1953, entitled "Why You Are You. Nearer Secret of Life." The news reached readers of The New York Times the next day; Victor K. McElheny, in researching his biography, "Watson and DNA: Making a Scientific Revolution", found a clipping of a six-paragraph New York Times article written from London and dated 16 May 1953 with the headline "Form of 'Life Unit' in Cell Is Scanned." The article ran in an early edition and was then pulled to make space for news deemed more important. (The New York Times subsequently ran a longer article on 12 June 1953). The university's undergraduate newspaper Varsity also ran its own short article on the discovery on Saturday 30 May 1953. Bragg's original announcement of the discovery at a Solvay conference on proteins in Belgium on 8 April 1953 went unreported by the British press.
In a seven-page, handwritten letter to his son at a British boarding school on 19 March 1953 Crick explained his discovery, beginning the letter "My Dear Michael, Jim Watson and I have probably made a most important discovery...". The letter was put up for auction at Christie's New York on 10 April 2013 with an estimate of $1 to $2 million, eventually selling for $6,059,750, the largest amount ever paid for a letter at auction.
Sydney Brenner, Jack Dunitz, Dorothy Hodgkin, Leslie Orgel, and Beryl M. Oughton, were some of the first people in April 1953 to see the model of the structure of DNA, constructed by Crick and Watson; at the time they were working at Oxford University's Chemistry Department. All were impressed by the new DNA model, especially Brenner who subsequently worked with Crick at Cambridge in the Cavendish Laboratory and the new Laboratory of Molecular Biology. According to the late Dr. Beryl Oughton, later Rimmer, they all travelled together in two cars once Dorothy Hodgkin announced to them that they were off to Cambridge to see the model of the structure of DNA. Orgel also later worked with Crick at the Salk Institute for Biological Studies.
In addition, the entire field of synthetic biology began with researchers such as Erik T. Kool, where bases other than A, C, T and G are used in a synthetic DNA. In addition to synthetic DNA there are also attempts to construct synthetic codons, synthetic endonucleases, synthetic proteins and synthetic zinc fingers. Using synthetic DNA, instead of there being 43 codons, if there are n new bases there could be as many as n3 codons. Research is currently being done to see if codons can be expanded to more than 3 bases. These new codons can code for new amino acids. These synthetic molecules can be used not only in medicine, but in creation of new materials.
Francis Crick Controversy
An enduring controversy has been generated by Watson and Crick's use of DNA X-ray diffraction data collected by Rosalind Franklin and her student Raymond Gosling. The controversy arose from the fact that some of Franklin's unpublished data were used without her knowledge or consent by Watson and Crick in their construction of the double helix model of DNA. Of the four DNA researchers, only Rosalind Franklin had a degree in chemistry: Wilkins and Crick had backgrounds in physics, Watson in molecular biology.
Prior to publication of the double helix structure, Watson and Crick had little direct interaction with Franklin herself. They were, however, aware of her work, more aware than she herself realized. Watson was present at a lecture, given in November 1951, where Franklin presented the two forms of the molecule, type A and type B, and discussed the position of the phosphate units on the external part of the molecule. She also specified the amount of water to be found in the molecule in accordance with other parts of it, data that have considerable importance in terms of the stability of the molecule. Franklin was the first to discover and formulate these facts, which in fact constituted the basis for all later attempts to build a model of the molecule. Before this both Linus Pauling and Watson and Crick had generated erroneous models with the chains inside and the bases pointing outwards. Her identification of the space group for DNA crystals revealed to Crick that the two DNA strands were antiparallel.
In January 1953, James Watson was shown an X-ray photograph of B-DNA (called photograph 51), by Maurice Wilkins. Maurice Wilkins had been given photograph 51 by Rosalind Franklin's Ph.D. student Raymond Gosling. Wilkins and Gosling had worked together in the Medical Research Council's (MRC) Biophysics Unit before director John Randall appointed Franklin to take over both DNA diffraction work and guidance of Gosling's thesis. It appears that Randall did not communicate effectively with them about Franklin's appointment, contributing to confusion and friction between Wilkins and Franklin.
In the middle of February 1953, Crick's thesis advisor, Max Perutz, gave Crick a copy of a report written for a Medical Research Council biophysics committee visit to King's in December 1952, containing data from the King's group, including some of Rosalind Franklin's crystallographic calculations.
Franklin was unaware that photograph 51 and other information had been shared with Crick and Watson. She wrote a series of three draft manuscripts, two of which included a double helical DNA backbone. Her two A form manuscripts reached Acta Crystallographica in Copenhagen on 6 March 1953, one day before Crick and Watson had completed their model.
The X-ray diffraction images collected by Gosling and Franklin provided the best evidence for the helical nature of DNA. Franklin's experimental work thus proved crucial in Watson and Crick's discovery. Her experimental results provided estimates of the water content of DNA crystals, and these results were most consistent with the three sugar-phosphate backbones being on the outside of the molecule. Franklin's X-Ray photograph showed that the backbones had to be on the outside. Although she at first insisted vehemently that her data did not force one to conclude that DNA has a helical structure, in the drafts she submitted in 1953 she argues for a double helical DNA backbone. Her identification of the space group for DNA crystals revealed to Crick that the DNA strands were antiparallel, which helped Watson and Crick decide to look for DNA models with two antiparallel polynucleotide strands.
In summary, Watson and Crick had three sources for Franklin's unpublished data: 1) her 1951 seminar, attended by Watson, 2) discussions with Wilkins, who worked in the same laboratory with Franklin, 3) a research progress report that was intended to promote coordination of Medical Research Council-supported laboratories. Watson, Crick, Wilkins and Franklin all worked in MRC laboratories.
Crick and Watson felt that they had benefited from collaborating with Wilkins. They offered him a co-authorship on the article that first described the double helix structure of DNA. Wilkins turned down the offer, a fact that may have led to the terse character of the acknowledgment of experimental work done at King's College in the eventual published paper. Rather than make any of the DNA researchers at King's College co-authors on the Watson and Crick double helix article, the solution that was arrived at was to publish two additional papers from King's College along with the helix paper. Brenda Maddox suggests that because of the importance of her experimental results in Watson and Crick's model building and theoretical analysis, Franklin should have had her name on the original Watson and Crick paper in Nature. Franklin and Gosling submitted their own joint 'second' paper to Nature at the same time as Wilkins, Stokes, and Wilson submitted theirs (i.e. the 'third' paper on DNA).
Watson's portrayal of Franklin in The Double Helix (written after Franklin's death when libel laws did not apply anymore) was negative and gave the appearance that she was Wilkins' assistant and was unable to interpret her own DNA data.
The X-ray diffraction images collected by Franklin provided the best evidence for the helical nature of DNA. While Franklin's experimental work proved important to Crick and Watson's development of a correct model, she herself could not realize it at the time. When she left King's College, Director Sir John Randall insisted that all DNA work belonged exclusively to King's and ordered Franklin to not even think about it. Franklin subsequently did superb work in J. D. Bernal's Lab at Birkbeck College with the tobacco mosaic virus extending ideas on helical construction.
Francis Crick Views on religion
Crick referred to himself as a humanist, which he defined as the belief "that human problems can and must be faced in terms of human moral and intellectual resources without invoking supernatural authority." He publicly called for humanism to replace religion as a guiding force for humanity, writing:
"The human dilemma is hardly new. We find ourselves through no wish of our own on this slowly revolving planet in an obscure corner of a vast universe. Our questioning intelligence will not let us live in cow-like content with our lot. We have a deep need to know why we are here. What is the world made of? More important, what are we made of? In the past religion answered these questions, often in considerable detail. Now we know that almost all these answers are highly likely to be nonsense, having sprung from man's ignorance and his enormous capacity for self-deception... The simple fables of the religions of the world have come to seem like tales told to children. Even understood symbolically they are often perverse, if not rather unpleasant... Humanists, then, live in a mysterious, exciting and intellectually expanding world, which, once glimpsed, makes the old worlds of the religions seem fake-cosy and stale... ":
Crick was especially critical of Christianity:
"I do not respect Christian beliefs. I think they are ridiculous. If we could get rid of them we could more easily get down to the serious problem of trying to find out what the world is all about.":
Crick once joked, "Christianity may be OK between consenting adults in private but should not be taught to young children."
In his book Of Molecules and Men, Crick expressed his views on the relationship between science and religion. After suggesting that it would become possible for a computer to be programmed so as to have a soul, he wondered: at what point during biological evolution did the first organism have a soul? At what moment does a baby get a soul? Crick stated his view that the idea of a non-material soul that could enter a body and then persist after death is just that, an imagined idea. For Crick, the mind is a product of physical brain activity and the brain had evolved by natural means over millions of years. He felt that it was important that evolution by natural selection be taught in schools and that it was regrettable that English schools had compulsory religious instruction. He also considered that a new scientific world view was rapidly being established, and predicted that once the detailed workings of the brain were eventually revealed, erroneous Christian concepts about the nature of humans and the world would no longer be tenable; traditional conceptions of the "soul" would be replaced by a new understanding of the physical basis of mind. He was sceptical of organized religion, referring to himself as a skeptic and an agnostic with "a strong inclination towards atheism".
In 1960, Crick accepted an honorary fellowship at Churchill College, Cambridge, one factor being that the new college did not have a chapel. Some time later a large donation was made to establish a chapel and the College Council decided to accept it. Crick resigned his fellowship in protest.
In October 1969 Crick participated in a celebration of the 100th year of the journal Nature in which he attempted to make some predictions about what the next 30 years would hold for molecular biology. His speculations were later published in Nature. Near the end of the article, Crick briefly mentioned the search for life on other planets, but he held little hope that extraterrestrial life would be found by the year 2000. He also discussed what he described as a possible new direction for research, what he called "biochemical theology". Crick wrote "so many people pray that one finds it hard to believe that they do not get some satisfaction from it".
Crick suggested that it might be possible to find chemical changes in the brain that were molecular correlates of the act of prayer. He speculated that there might be a detectable change in the level of some neurotransmitter or neurohormone when people pray. He might have been imagining substances such as dopamine that are released by the brain under certain conditions and produce rewarding sensations. Crick's suggestion that there might someday be a new science of "biochemical theology" seems to have been realized under an alternative name: there is now the new field of neurotheology. Crick's view of the relationship between science and religion continued to play a role in his work as he made the transition from molecular biology research into theoretical neuroscience.
Crick asked in 1998 "and if some of the Bible is manifestly wrong, why should any of the rest of it be accepted automatically? ... And what would be more important than to find our true place in the universe by removing one by one these unfortunate vestiges of earlier beliefs?"
In 2003 he was one of 22 Nobel laureates who signed the Humanist Manifesto.
Francis Crick Directed panspermia
During the 1960s, Crick became concerned with the origins of the genetic code. In 1966, Crick took the place of Leslie Orgel at a meeting where Orgel was to talk about the origin of life. Crick speculated about possible stages by which an initially simple code with a few amino acid types might have evolved into the more complex code used by existing organisms. At that time, everyone thought of proteins as the only kind of enzymes and ribozymes had not yet been found. Many molecular biologists were puzzled by the problem of the origin of a protein replicating system that is as complex as that which exists in organisms currently inhabiting Earth. In the early 1970s, Crick and Orgel further speculated about the possibility that the production of living systems from molecules may have been a very rare event in the universe, but once it had developed it could be spread by intelligent life forms using space travel technology, a process they called "directed panspermia". In a retrospective article, Crick and Orgel noted that they had been overly pessimistic about the chances of abiogenesis on Earth when they had assumed that some kind of self-replicating protein system was the molecular origin of life.
In 1976 Crick addressed the origin of protein synthesis in a paper with Sydney Brenner, Aaron Klug, and George Pieczenik. In this paper, based on Pieczenik's work, they speculate that code constraints on nucleotide sequences allow protein synthesis without the need for a ribosome. It, however, requires a five base binding between the mRNA and tRNA with a flip of the anti-codon creating a triplet coding, even though it is a five-base physical interaction. Thomas H. Jukes pointed out that the code constraints on the mRNA sequence required for this translation mechanism is still preserved.
Francis Crick Neuroscience and other interests
Crick's period at Cambridge was the pinnacle of his long scientific career, but he left Cambridge in 1977 after 30 years, having been offered (and having refused) the Mastership of Gonville & Caius. James Watson claimed at a Cambridge conference marking the 50th anniversary of the discovery of the structure of DNA in 2003: "Now perhaps it's a pretty well kept secret that one of the most uninspiring acts of the University of Cambridge over this past century was to turn down Francis Crick when he applied to be the Professor of Genetics, in 1958. Now there may have been a series of arguments, which led them to reject Francis. It was really saying, don't push us to the frontier."[citation needed] The apparently "pretty well kept secret" had already been recorded in Soraya De Chadarevian's "Designs For Life: Molecular Biology After World War II", published by CUP in 2002. His major contribution to molecular biology in Cambridge is well documented in The History of the University of Cambridge: Volume 4 (1870 to 1990), which was published by Cambridge University Press in 1992.
According to the University of Cambridge's genetics department official website, the electors of the professorship could not reach consensus, prompting the intervention of then University Vice-Chancellor Lord Adrian. Lord Adrian first offered the professorship to a compromise candidate, Guido Pontecorvo, who refused, and is said to have offered it then to Crick, who also refused.
In 1976, Crick took a sabbatical year at the Salk Institute for Biological Studies in La Jolla, California. Crick had been a nonresident fellow of the Institute since 1960. Crick wrote, "I felt at home in Southern California." After the sabbatical, Crick left Cambridge in order to continue working at the Salk Institute. He was also a professor at the University of California, San Diego. He taught himself neuroanatomy and studied many other areas of neuroscience research. It took him several years to disengage from molecular biology because exciting discoveries continued to be made, including the discovery of alternative splicing and the discovery of restriction enzymes, which helped make possible genetic engineering. Eventually, in the 1980s, Crick was able to devote his full attention to his other interest, consciousness. His autobiographical book, What Mad Pursuit: A Personal View of Scientific Discovery, includes a description of why he left molecular biology and switched to neuroscience.
Upon taking up work in theoretical neuroscience, Crick was struck by several things:
there were many isolated subdisciplines within neuroscience with little contact between them
many people who were interested in behaviour treated the brain as a black box
consciousness was viewed as a taboo subject by many neurobiologists
Crick hoped he might aid progress in neuroscience by promoting constructive interactions between specialists from the many different subdisciplines concerned with consciousness. He even collaborated with neurophilosophers such as Patricia Churchland. In 1983, as a result of their studies of computer models of neural networks, Crick and Mitchison proposed that the function of REM sleep is to remove certain modes of interactions in networks of cells in the mammalian cerebral cortex; they called this hypothetical process 'reverse learning' or 'unlearning'. In the final phase of his career, Crick established a collaboration with Christof Koch that lead to publication of a series of articles on consciousness during the period spanning from 1990 to 2005. Crick made the strategic decision to focus his theoretical investigation of consciousness on how the brain generates visual awareness within a few hundred milliseconds of viewing a scene. Crick and Koch proposed that consciousness seems so mysterious because it involves very short-term memory processes that are as yet poorly understood. Crick also published a book describing how neurobiology had reached a mature enough stage so that consciousness could be the subject of a unified effort to study it at the molecular, cellular and behavioural levels. Crick's book The Astonishing Hypothesis made the argument that neuroscience now had the tools required to begin a scientific study of how brains produce conscious experiences. Crick was skeptical about the value of computational models of mental function that are not based on details about brain structure and function.
Francis Crick Reactions
Crick was often described as very talkative, with Watson – in The Double Helix – implying lack of modesty. His personality combined with his scientific accomplishments produced many opportunities for Crick to stimulate reactions from others, both inside and outside the scientific world, which was the centre of his intellectual and professional life. Crick spoke rapidly, and rather loudly, and had an infectious and reverberating laugh, and a lively sense of humour. One colleague from the Salk Institute described him as "a brainstorming intellectual powerhouse with a mischievous smile.... Francis was never mean-spirited, just incisive. He detected microscopic flaws in logic. In a room full of smart scientists, Francis continually reearned his position as the heavyweight champ."
Eugenics
Crick occasionally expressed his views on eugenics, usually in private letters. For example, Crick advocated a form of positive eugenics in which wealthy parents would be encouraged to have more children. He once remarked, "In the long run, it is unavoidable that society will begin to worry about the character of the next generation... It is not a subject at the moment which we can tackle easily because people have so many religious beliefs and until we have a more uniform view of ourselves I think it would be risky to try and do anything in the way of eugenics... I would be astonished if, in the next 100 or 200 years, society did not come round to the view that they would have to try to improve the next generation in some extent or one way or another.\
Francis Crick Recognition
In addition to his third share of the 1962 Nobel prize for Physiology or Medicine, he received many awards and honours, including the Royal and Copley medals of the Royal Society (1972 and 1975), and also the Order of Merit (on 27 November 1991); he refused an offer of a CBE in 1963 and later refused an offer of a knighthood,[citation needed] but was often referred to in error as 'Sir Francis Crick' and even on occasions as 'Lord Crick.'
The award of Nobel prizes to John Kendrew and Max Perutz, and to Crick, Watson, and Wilkins was satirised in a short sketch in the BBC TV programme That Was The Week That Was with the Nobel Prizes being referred to as 'The Alfred Nobel Peace Pools.'
Francis Crick Medal and Lecture
The Francis Crick Medal and Lecture was established in 2003 following an endowment by his former colleague, Sydney Brenner, joint winner of the 2002 Nobel Prize in Physiology and Medicine. The lecture is delivered annually in any field of biological sciences, with preference given to the areas in which Francis Crick himself worked. Importantly, the lectureship is aimed at younger scientists, ideally under 40, or whose career progression corresponds to this age. As of 2015, Crick lecture have been delivered by Julie Ahringer, Dario Alessi, Ewan Birney, Simon Boulton, Jason Chin, Simon Fisher, Matthew Hurles, Gilean McVean, Duncan Odom, Geraint Rees, Sarah Teichmann and Daniel Wolpert.
Francis Crick Books referring to Crick
Robert Olby, assisted by Martin Packer; "Francis Crick: Hunter of Life's Secrets", Cold Spring Harbor Laboratory Press, ISBN 978-0-87969-798-3, published 25 August 2009; 450 pp; and Peter Lawrence's review in "Current Biology" .
John Bankston, Francis Crick and James D. Watson; Francis Crick and James Watson: Pioneers in DNA Research (Mitchell Lane Publishers, Inc., 2002) ISBN 1-58415-122-6.
Bill Bryson; A Short History of Nearly Everything (Broadway Books, 2003) ISBN 0-7679-0817-1.
Soraya De Chadarevian; Designs For Life: Molecular Biology After World War II, CUP 2002, 444 pp; ISBN 0-521-57078-6.
Roderick Braithwaite. ""'Strikingly Alive', The History of the Mill Hill School Foundation 1807–2007; published Phillimore & Co. ISBN 978-1-86077-330-3
Edwin Chargaff; Heraclitean Fire, Rockefeller Press, 1978.
S. Chomet (Ed.), "D.N.A. Genesis of a Discovery", 1994, Newman- Hemisphere Press, London
Dickerson, Richard E.; "Present at the Flood: How Structural Molecular Biology Came About", Sinauer, 2005; ISBN 0-87893-168-6.
Edward Edelson, "Francis Crick And James Watson: And the Building Blocks of Life"' Oxford University Press, 2000, ISBN 0-19-513971-2.
John Finch; 'A Nobel Fellow On Every Floor', Medical Research Council 2008, 381 pp, ISBN 978-1-84046-940-0.
Hager, Thomas; "Force of Nature: The Life of Linus Pauling", Simon & Schuster 1995; ISBN 0-684-80909-5
Graeme Hunter; Light Is A Messenger, the life and science of William Lawrence Bragg (Oxford University Press, 2004) ISBN 0-19-852921-X.
Horace Freeland Judson, The Eighth Day of Creation. Makers of the Revolution in Biology; Penguin Books 1995, first published by Jonathan Cape, 1977; ISBN 0-14-017800-7.
Errol C. Friedberg; "Sydney Brenner: A Biography", pub. CSHL Press October 2010, ISBN 0-87969-947-7.
Torsten Krude (Ed.); DNA Changing Science and Society (ISBN 0-521-82378-1) CUP 2003. (The Darwin Lectures for 2003, including one by Sir Aaron Klug on Rosalind Franklin's involvement in the determination of the structure of DNA).
Robert Olby; The Path to The Double Helix: Discovery of DNA; first published in October 1974 by MacMillan, with foreword by Francis Crick; ISBN 0-486-68117-3; revised in 1994, with a 9-page postscript.
Robert Olby; Oxford National Dictionary article: ‘Crick, Francis Harry Compton (1916–2004)’, Oxford Dictionary of National Biography, Oxford University Press, January 2008.
Anne Sayre. 1975. Rosalind Franklin and DNA. New York: W.W. Norton and Company. ISBN 0-393-32044-8.
James D. Watson; The Double Helix: A Personal Account of the Discovery of the Structure of DNA, Atheneum, 1980, ISBN 0-689-70602-2 (first published in 1968) is a very readable firsthand account of the research by Crick and Watson. The book also formed the basis of the award winning television dramatization Life Story by BBC Horizon (also broadcast as Race for the Double Helix).
James D. Watson; The Double Helix: A Personal Account of the Discovery of the Structure of DNA; The Norton Critical Edition, which was published in 1980, edited by Gunther S. Stent: ISBN 0-393-01245-X.
James D. Watson; "Avoid boring people and other lessons from a life in science" New York: Random House. ISBN 978-0-375-41284-4, 366pp.
Francis Crick References
^ a b http://www.science20.com/adaptive_complexity/blog/francis_crick_late_bloomer
^ a b c d Rich, A.; Stevens, C. F. (2004). "Obituary: Francis Crick (1916–2004)". Nature 430 (7002): 845–847. Bibcode:2004Natur.430..845R. doi:10.1038/430845a. PMID15318208.
^ The Nobel Prize in Physiology or Medicine 1962. Nobel Prize Site for Nobel Prize in Physiology or Medicine 1962.
^ Ridley, p. 192
^ Shermer, Michael (30 July 2004). "Astonishing Mind: Francis Crick 1916–2004". Skeptics Society. Retrieved 25 August 2006.
^ Darwin, Charles (1882). "On the Dispersal of Freshwater Bivalves". Nature 25 (649): 529–30. Bibcode:1882Natur..25R.529D. doi:10.1038/025529f0.
^ Crick (1990) p. 10: "I remember telling my mother that I no longer wished to go to church".
^ Crick (1990) Chapters 1 and 2 provide Crick's description of his early life and education
^ Crick (1990) p. 13
^ Olby, Robert (1970). "The Making of Modern Science: Biographical Studies". Journal of the American Academy of Arts and Sciences 99 (4): 941.
^ "Bio at Wellcome Trust". Genome.wellcome.ac.uk.
^ Olby, p. ix
^ Olby, p. 505
^ Wade, Nicholas (30 July 2004). "Francis Crick, Co-Discoverer of DNA, Dies at 88". The New York Times. Retrieved 21 July 2007. Francis H. C. Crick, co-discoverer of the structure of DNA, the genetic blueprint for life, and the leading molecular biologist of his age, died on Wednesday night in a hospital in San Diego. He was 88. He died after a long battle with colon cancer, said Andrew Porterfield, a spokesman for the Salk Institute, where he worked.
^ Crick (1990) p. 17
^ Crick (1990) p. 18
^ a b Crick (1990) p. 22
^ a b Page 30 of The Eighth Day of Creation: Makers of the Revolution in Biology by Horace Freeland Judson published by Cold Spring Harbor Laboratory Press (1996) ISBN 0-87969-478-5.
^ Crick (1990) p. 25
^ "Esther M. Zimmer Lederberg: Anecdotes". Estherlederberg.com.
^ a b Crick (1990) p. 32
^ Crick (1990) pp. 33–34
^ a b Crick (1990) Ch. 4
^ Crick (1990) p. 46: "..there was no alternative but to teach X-ray diffraction to myself."
^ Pauling L, Corey RB (May 1951). "Atomic Coordinates and Structure Factors for Two Helical Configurations of Polypeptide Chains". Proceedings of the National Academy of Sciences of the United States of America 37 (5): 235–40. Bibcode:1951PNAS...37..235P. doi:10.1073/pnas.37.5.235. PMC1063348. PMID14834145.
^ Crick (1990) p. 58
^ Cochran, W.; Crick, F. H.; Vand, V. (1952). "The structure of synthetic polypeptides. I. The transform of atoms on a helix". Acta Crystallographica 5 (5): 581–6. doi:10.1107/S0365110X52001635.
^ Cochran, W.; Crick, F. H. C. (1952). "Evidence for the Pauling–Corey α-Helix in Synthetic Polypeptides". Nature 169 (4293): 234. Bibcode:1952Natur.169..234C. doi:10.1038/169234a0.
^ Watson JD, Crick FH (1953). "Molecular Structure of Nucleic Acids: A Structure for Deoxyribose Nucleic Acid". Nature 171 (4356): 737–8. Bibcode:1953Natur.171..737W. doi:10.1038/171737a0. PMID13054692.
^ Francis Crick's 1962 Biography from the Nobel foundation.
^ a b c d "James Watson, Francis Crick, Maurice Wilkins, and Rosalind Franklin". Chemical Heritage Foundation. Retrieved 1 November 2013.
^ Crick (1990) p. 22: Crick traced his interest in the physical nature of the gene back to the start of his work in biology, when he was in the Strangeways laboratory.
^ In The Eighth Day of Creation, Horace Judson describes the development of Watson's thinking about the physical nature of genes. On page 89, Judson explains that by the time Watson came to Cambridge, he believed genes were made of DNA and he hoped that he could use X-ray diffraction data to determine the structure.
^ Page 90, In The Eighth Day of Creation by Horace Judson.
^ a b "Linus Pauling and the Race for DNA: A Documentary History". Special Collections, The Valley Library, Oregon State University.
^ Chapter 3 in The Eighth Day of Creation by Horace Judson.
^ Perutz MF, Randall JT, Thomson L, Wilkins MH, Watson JD (June 1969). "DNA helix". Science 164 (3887): 1537–9. Bibcode:1969Sci...164.1537W. doi:10.1126/science.164.3887.1537. PMID5796048.
^ Franklin's citation to the earlier work of W. T. Astbury is in:
Franklin RE, Gosling RG (1953). "Molecular configuration in sodium thymonucleate" (PDF reprint). Nature 171 (4356): 740–1. Bibcode:1953Natur.171..740F. doi:10.1038/171740a0. PMID13054694.
^ Crick F (1974). "The double helix: a personal view". Nature 248 (5451): 766–9. Bibcode:1974Natur.248..766C. doi:10.1038/248766a0. PMID4599081.
^ In chapter 3 of The Eighth Day of Creation, Horace Judson describes the development of Watson's and Crick's thinking about the structure of DNA and how it evolved during their model building. Watson and Crick were open to the idea of tentatively ignoring all individual experimental results, in case they might be wrong or misleading. Judson describes how Watson spent a large amount of time ignoring Crick's belief (based on Franklin's determination of the space group) that the two backbone strands were antiparallel. On page 176, Judson quotes a letter written by Watson, "The model has been derived almost entirely from stereochemical considerations with the only X-ray consideration being the spacing between the pair of bases 3.4 A which was originally found by Astbury."
^ Personal communication: Conversation between Francis Crick and Kim Booth, August 1980
^ See Chapter 3 of The Eighth Day of Creation: Makers of the Revolution in Biology by Horace Freeland Judson published by Cold Spring Harbor Laboratory Press (1996) ISBN 0-87969-478-5. Judson also lists the publications of W. T. Astbury that described his early X-ray diffraction results for DNA.
^ Crick (1990) p. 75: "If Jim had been killed by a tennis ball, I am reasonably sure I would not have solved the structure alone".
^ a b Simon, Matthew (2005) Emergent Computation: emphasizing bioinformatics. Springer. ISBN 0-387-22046-1.
^ Letter from DNA discoverer to young son to be auctioned. News.msn.com. Retrieved on 21 November 2013.
^ My Dear Michael, We’ve Discovered DNA. Crick's letter transcribed at the New York Times. 26 February 2013
^ THE ‘SECRET OF LIFE’ LETTER TO BE SOLD AT CHRISTIE’S ON APRIL 10: Remarkable Letter from Francis Crick to His Son, Outlining the Revolutionary Discovery of the Structure and Function of DNA Estimate: $1–2 million. christies.com. New York, Rockefeller Center. 26 February 2013
^ Olby, Ch. 10, p. 181
^ Watson JD, Crick FH (May 1953). "Genetical implications of the structure of deoxyribonucleic acid" (PDF reprint). Nature 171 (4361): 964–7. Bibcode:1953Natur.171..964W. doi:10.1038/171964b0. PMID13063483.
^ Morgan GJ (February 2003). "Historical review: viruses, crystals and geodesic domes". Trends in Biochemical Sciences 28 (2): 86–90. doi:10.1016/S0968-0004(02)00007-5. PMID12575996.
^ Rich A, Crick FH (November 1955). "The structure of collagen" (PDF reprint). Nature 176 (4489): 915–6. Bibcode:1955Natur.176..915R. doi:10.1038/176915a0. PMID13272717.
^ "On Degenerate Templates and the Adaptor Hypothesis: A Note for the RNA Tie Club" by Francis Crick (1956).
^ Crick FH (1958). "On protein synthesis" (PDF reprint). Symp. Soc. Exp. Biol. 12: 138–63. PMID13580867.
^ http://www.americanscientist.org/issues/pub/the-invention-of-the-genetic-code
^ Crick FH, Barnett L, Brenner S, Watts-Tobin RJ (December 1961). "General nature of the genetic code for proteins" (PDF reprint). Nature 192 (4809): 1227–32. Bibcode:1961Natur.192.1227C. doi:10.1038/1921227a0. PMID13882203.
^ Crick FH (1967). "The Croonian lecture, 1966. The genetic code" (PDF reprint). Proc. R. Soc. Lond., B, Biol. Sci. 167 (9): 331–47. Bibcode:1967RSPSB.167..331C. doi:10.1098/rspb.1967.0031. PMID4382798.
^ Goldstein B (Feb 2015). "The Thrill of Defeat". Nautilus.
^ Judson, H.F. 1996. The Eighth Day of Creation: Makers of the Revolution in Biology. Cold Spring Harbor Laboratory Press, chapter 3. ISBN 0-87969-478-5.
^ Schwartz, James (2008) In Pursuit of the Gene. From Darwin to DNA. Harvard University Press. ISBN 0674034910.
^ Maddox, pp. 177–178
^ a b Maddox, p. 196
^ Crick (1990) p. 67
^ Sayre, Olby, Maddox, Elkin, Wilkins
^ Hubbard, Ruth (1990). The Politics of Women's Biology. Rutgers State University. p.60. ISBN0-8135-1490-8.
^ Chapter 3 of The Eighth Day of Creation: Makers of the Revolution in Biology by Horace Freeland Judson published by Cold Spring Harbor Laboratory Press (1996) ISBN 0-87969-478-5.
^ Elkin, L.O. (2003)p 44
^ Maddox, pp. 198–199
^ Franklin, R.E. and Gosling, R.G. authors of papers received 6 March 1953 Acta Cryst. (1953). 6, 673 The Structure of Sodium Thymonucleate Fibres I. The Influence of Water Content Acta Cryst. (1953). 6, 678 The Structure of Sodium Thymonucleate Fibres II. The Cylindrically Symmetrical Patterson Function
^ Maddox, p. 205
^ Wilkins provides a detailed account of the fact that Franklin's results were interpreted as most likely indicated three, and possibly four, polynucleotide strands in the DNA molecule.
^ Cullen, Katherine E. (2006). Biology: the people behind the science. New York: Chelsea House. p.136. ISBN0-8160-5461-4.
^ Cullen, Katherine E. (2006). Biology: the people behind the science. New York: Chelsea House. p.140. ISBN0-8160-5461-4.
^ Stocklmayer, Susan M.; Gore, Michael M.; Brtyant, Chris (2001). Science Communication in Theory and Practice. Kluwer Academic Publishers. p.79. ISBN1-4020-0131-2.
^ Maddox
^ Elkin, L. O. (2003). "Rosalind Franklin and the Double Helix". Physics Today 56 (3): 42. Bibcode:2003PhT....56c..42E. doi:10.1063/1.1570771.
^ Maddox, p. 312,
^ Crick, Francis. ""Why I Am a Humanist." (1966) Varsity, the University of Cambridge newspaper.". The Wellcome Library. Retrieved 2014-03-15.
^ Crick, Francis. "Letter to the Editor, Varsity, the University of Cambridge newspaper. (1966).". The Wellcome Library. Retrieved 2014-03-15.
^ McKie, Robin (17 September 2006). "Genius was in his DNA". The Guardian (London). Retrieved 4 August 2007.
^ Of Molecules and Men (Prometheus Books, 2004; original edition 1967) ISBN 1-59102-185-5. A portion of the book was published as "The Computer, the Eye, the Soul" in Saturday Review (1966): 53–55.
^ Crick (1990) p. 10: Crick described himself as agnostic, with a "strong inclination towards atheism".
^ Beckett C (2004). "For the Record: The Francis Crick Archive at the Wellcome Library". Med Hist 48 (2): 245–60. doi:10.1017/S0025727300007419. PMC546341. PMID15151106.
^ Do our genes reveal the hand of God? ww.telegraph.co.uk. 20 March 2003.
^ a b Crick F (November 1970). "Molecular biology in the year 2000" (PDF reprint). Nature 228 (5272): 613–5. Bibcode:1970Natur.228..613C. doi:10.1038/228613a0. PMID4920018.
^ Borg J, Andrée B, Soderstrom H, Farde L (November 2003). "The serotonin system and spiritual experiences". Am J Psychiatry 160 (11): 1965–9. doi:10.1176/appi.ajp.160.11.1965. PMID14594742.
^ Crick (1990) p. 11
^ "Notable Signers". Humanism and Its Aspirations. American Humanist Association. Retrieved 28 September 2012.
^ Crick FH (December 1968). "The origin of the genetic code". Journal of Molecular Biology 38 (3): 367–79. doi:10.1016/0022-2836(68)90392-6. PMID4887876.
^ Crick, Francis and Orgel, Leslie E (1973). "Directed Panspermia" (PDF). Icarus 19 (3): 341–346. Bibcode:1973Icar...19..341C. doi:10.1016/0019-1035(73)90110-3. Crick later wrote a book about directed panspermia: Crick, Francis (1981). Life itself: its origin and nature. New York: Simon and Schuster. ISBN0-671-25562-2.
^ Orgel LE, Crick FH (1993). "Anticipating an RNA world. Some past speculations on the origin of life: where are they today?". The FASEB Journal 7 (1): 238–9. PMID7678564.
^ Crick FH, Brenner S, Klug A, Pieczenik G (December 1976). "A speculation on the origin of protein synthesis". Origins of Life 7 (4): 389–97. Bibcode:1976OrLi....7..389C. doi:10.1007/BF00927934. PMID1023138.
^ Jukes, T. H.; Holmquist, R. (1972). "Evolution of transfer RNA molecules as a repetitive process". Biochemical and biophysical research communications 49 (1): 212–216. doi:10.1016/0006-291X(72)90031-9. PMID4562163.
^ Crick (1990) p. 145
^ "Towards a Neurobiological Theory of Consciousness" by Francis Crick and Christof Koch in Seminars in the Neurosciences (1990): Volume 2 pages 263–275.
^ Watson's book The Double Helix painted a vivid image of Crick, starting with the famous line, "I have never seen Francis Crick in a modest mood." The first chapter of Horace Judson's book The Eighth Day of Creation describes the importance of Crick's talking and his boldness in his scientific style.
^ Describing Crick's influence on his scientific colleagues, Francis Crick Papers archivist Chris Beckett wrote of the importance of, ".....Crick's presence and eloquence—direct and beguiling, by all accounts in the archive— at conference after conference, through formal lectures, extempore summaries, informal meetings and individual conversations. Indeed, one has the impression that it was through these frequent persuasive moments of personal delivery and purposive conversations that Crick was most influential."
Beckett C (2004). "For the Record: The Francis Crick Archive at the Wellcome Library". Med Hist 48 (2): 245–60. doi:10.1017/S0025727300007419. PMC546341. PMID15151106. Also described as an example of Crick's wide recognition and public profile are some of the times Crick was addressed as "Sir Francis Crick" with the assumption that someone so famous must have been knighted.
^ Eagleman, D.M. (2005). Obituary: Francis H. C. Crick (1916–2004). Vision Research. 45: 391–393.
^ Ridley
^ Amicus Curiae Brief of 72 Nobel Laureates, 17 State Academies of Science, and 7 Other Scientific Organization in Support of Appellees filed in the case Edwards v. Aguillard before the U.S. Supreme Court (1986).
^ Press release from the British Humanist Association: Darwin Day a natural holiday? (12 February 2003).
^ "Francis Crick Medal and Lecture: This prize lecture is given on a subject in the field of biology". London: Royal Society. Archived from the original on 2015-02-11.
^ The Francis Crick Lecture (2003): The Royal Society website. Retrieved 12 July 2006.
^ a b Jha, Alok (19 June 2010). "Plans for largest biomedical research facility in Europe unveiled". London: The Guardian. Retrieved 11 August 2010.
^ "Three's company: Imperial, King's join UCL in £700m medical project". Times Higher Education. 15 April 2011. Retrieved 16 April 2011.
^ Back and Forward: From University to Research Institute; From Egg to Adult, and Back Again by Professor Sir John Gurdon, Francis Crick Graduate Lectures, 29 November 2005. University of Cambridge.
^ A Life in Science by Dr Tim Hunt, Francis Crick Graduate Lectures, 29 June 2005. University of Cambridge.
^ Westminster honours Francis Crick (20/06/2007). City of Westminster.
^ "Benjamin Franklin Medal for Distinguished Achievement in the Sciences Recipients". American Philosophical Society. Retrieved 27 November 2011.
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March 3, 1923 saw the first issue of what weekly news magazine, the worlds largest with over 20 million domestic readers? | TIME | Current & Breaking News | National & World Updates
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10:54 am on February 28 of what year saw Seattle rocked by an earthquake that measured 6.8 on the MMS scale? | Publishers | Magforum | Magazines and Magazine Publishers
Extreme sports publisher that was part of a three-way merger forming Factory Media in December 2006. ASM head office is in London with editorial offices in Munich, Germany and Anglet, France. Four titles are distributed in 74 countries.
Onboard: launched in 1994. Claims to be Europe's best-selling snowboard magazine.
Surf Europe: launched in 1999.
Kingpin: launched in November 2002. Skateboarding, lifestyle and culture.
Cooler (quarterly): surfing for women. Launched summer 2005
Anthem Publishing Ltd Back to top
Anthem Publishing was formed in late 2002 by Jon Bickley, Paul Pettengale and Simon Lewis, who had all worked at Future in Bath. Its first launch was Music Tech in March 2003. It has 10 titles on music technology, homes and holidays, food and drink, and sport. Anthem also does some contract publishing. In October 2010 it bought IPC's Guitar & Bass.
Italia (M): for home buyers and people with a passion for the country, its people, culture, food and drink. Published on the first Thursday of every month; launched in November 2004
Music Tech (M): practical title for recording musicians, engineers and producers. Launched in 2003 and sold in UK and overseas
Sporting Legends : irregular title celebrates sportsmen and sporting achievements, such as George Best, Bobby Moore, superstars of the World Cup and football in the nineties
Taste Italia (M): recipes and features on Italian produce and producers; also reviews of wine and restaurants. Published on the first Thursday of the month; launched November 2006
Attic Brand Media Back to top
With operations in UK, Germany and Australia, Attic Futura launched Sugar, That’s Life! and Inside Soap before selling them on and being absorbed as part of HFUK. In 2011, a spin-off company was publishing three children’s titles in the UK: National Geographic Kids, football weekly Kick! and Kraze Club. The company went into administration in 2011.
Bauer (H.) Publishing Back to top
H. Bauer is a German company that took over Emap 's consumer arm in February 2008. It leapt from being the third-largest consumer magazine publisher in the UK to overtake IPC with more than 80 titles and about 25% of the consumer market. HBP Media Sales sells the advertising in Bauer's UK magazines. H. Bauer claims to be the largest privately-owned magazine publisher in Europe. Bauer's magazines have tended to focus on readers rather than advertisers. Women's weeklies Bella, Take a Break and That's Life! take about 40% market share; its trio of TV titles take near a third of the listings sector. Bauer shook up UK women's weeklies in 1987 with Bella's mix of real-life articles and 'service' features. Similar splash with Take a Break in 1990. However, it had a string of failures between 2002 and 2007: Cut, Real, Lounge, Three-Sixty and In the Know.
Bauer acted swiftly to axe two Emap titles, weekly First and New Woman. In April, it ended a long-standing relationship whereby The Publishing Consultancy sold advertising for Bauer titles, bringing UK ad sales and the TPC staff in-house. Bauer continued Emap's strategy of launching radio stations based on magazines. It revamped Q Radio and launched Closer radio on Freeview. The company also revealed it was researching the possibility of a radio station for men, based on brands such as FHM and Empire.
Bella (W): content based on practical features and real-life stories. Targets B, C1 and C2 women aged 25-44 with children, median age is 44. Launched in October 1987
Blush! (F): August 2002 launch for 10 to 14-year-old girls
Cut (W): poor start in August for men's weekly; closed in December 2004
In the Know (W): 2006 launch - closed in May 2007. Apart from puzzle titles, Bauer's first new title since the short-lived men's weekly Cut men's weekly in 2004 and its first women's magazine since That's Life in 1995. Investment of £10m in a ‘topical and relevant’ weekly.
Lounge (M): March 2004 launch with print run of 350,000 for puzzle monthly in women's weekly format. Closed after six issues
Puzzle portfolio of about 20 brands, ranging in frequency from 4 to 13 a year. Some use Take a ... title. Total sales can exceed 900,000 in the summer months
Real (F): women's fortnightly in glossy format appeared in April 2001 at £1.50. Redesigned in 2003 with lower production values and £1 price tag. Median female age of readers 33, with more upmarket, younger target than weeklies: ABC1 women aged 25-40. Sold to Essex based Essential in summer 2004 but closed in early 2007
Spirit & Destiny (M) October 2002 launch with eight-page booklet: Beginner's Guide to Crystals. Fashion, beauty and health articles alongside astrology and psychic matters, holistic therapies and alternative lifestyles
Take a Break (W): UK's biggest-selling women's weekly at 1.2 million copies (claims to be the fourth largest-selling women's weekly in the world). March 1990 launch. Real-life stories, prize puzzles and competitions and classic weekly elements. Eschews celebrities. Has brand extensions selling 20 million copies a year. Launched CD of music from TV commercials in summer 1999
Take a Break spin-offs include Fate & Fortune and Fiction Feast
That's Life (W): Young, mass market women with children buy more than 600,000 copies a week. June 1995 debut
Three Sixty (Q): February 2003 home lifestyle offering in a square format. Upmarket move for the company, but closed by summer
Total TV Guide (W) September 2003 launch aiming at upmarket households. Ten pages a day cover 90 channels. 85p at end of 2004
TV Choice (W): August 1999 launch at cheap end of the market (40p in 2003-04). Expanded listings market to become third-biggest seller
TV Quick (W): Attempts to be a women's magazine, celebrity TV magazine and a listings magazine combined. Launched March 1991 (65p in 2003-04)
BBC Magazines / Immediate Media Back to top
In August 2011, BBC Worldwide agreed to sell or license its magazines to Exponent, a private equity firm that owned Magicalia, for £121m and offload its joint venture in India. The BBC titles and Magicalia were tthen folded in Immediate Media. Essentials of the deals included:
Exponent buys all non-BBC-branded magazines – including Radio Times;
Exponent to publish BBC titles under licence or as contract magazines;
Exponent to take subscriptions and distribution businesses, Dovetail and Frontline;
BBC stake in Bath-based Origin also to go to Exponent;
Bennett, Coleman & Co, owner of Times of India, buys BBC’s half stake in Worldwide Media, a joint venture in India.
Magazines had been part of the BBC 's commercial arm, BBC Worldwide, which generates revenue to put back into programme-making. BBC Magazines bought Origin in 2004 but a review in December saw it decide to sell non-core titles, such as Eve and many of the Origin portfolio, and end on-screen advertising of its magazines. In April 2006, sold off most of the original Origin titles to a management buy-out team, but kept the contract titles and Origin's Focus. Put retained titles into new arm, Bristol Magazines . Trades on the Britishness of its ouput in the US and launched US only magazine, Knowledge, in 2008; in 2010, this was made available in the UK. In 2010, the company had 51 international editions of its titles being sold in 60 countries with licensing or syndication partners.
Launched the Radio Times and the Listener in the 1920s. In 1955, Radio Times claimed 'the largest sale of any weekly magazine in the world' with 8,832,579 copies a week (Life in the US was selling 5.6m). Despite the success of this and its book publishing, did little else until the 1980s when it licensed the Clothes Show title to a small London publisher. Also, the wildlife films unit in Bristol set up a magazine with another publisher. By then, Radio Times was selling 3 million copies a week. However, revenue was threatened when government decided to force both IPC (owned the TV Times) and the BBC to sell listings to other publishers. (The resultant spate of launches cut RT sales to a million copies.) To offset the revenue loss, the BBC bought Redwood , which published Acorn User magazine for the BBC Micro (runner-up to Just Seventeen in 1984 as best launch), Educational Computing and contract titles for customers of Intercity, American Express and M&S.
BBC/Redwood developed proposals for the best-watched subjects on the BBC. The first result was Good Food, then Gardeners' World and Home & Antiques. The BBC later sold Redwood, retained the BBC titles and carried on launching. There were some failures: Holidays, Good Health, Tomorrow's World, Match of the Day (closed when BBC lost rights to screen premiership football in 2001) and Star; Clothes Show closed in 1998. The best titles, Gardeners' World and Good Food, revolutionised their sectors. Has adult; teen; pre-teen (age 7-12); educational; and pre-school titles.
Has digital asset management system, allowing it to syndicate words and pictures, and several joint businesses: Frontline distributors with Emap and Haymarket; BBC Haymarket Exhibitions; and Galleon, for subscriptions.
Clothes Show: First of the modern BBC-related launches. Licensed by BBC. Later taken over and revamped by BBC/Redwood. Never really accepted as BBC brand. Closed 1998
Eve (M): Bought by Haymarket in 2005. August 2000 launch aiming for mature women: the Cosmopolitan generation who wouldn't want to buy the magazines their mothers had. £2m marketing budget; very experienced launch team. Known as 'project Urma'. Marketing Week quoted target circulation of 150,000 (July 6, p12). Competes with Hachette's Red and Nat Mags' She in a difficult 30-something mid-market where the target readership is diverse. IPC's Women's Journal and Nova, Dennis's PS and Parkhill's Aura have all become a cropper here. To be sold as part of review by BBC of commercial activities
Focus (M) : launched by Gruner + Jahr in 1982; sold to NatMags from when G+J retreated from the UK; bought by Origin in 2001; branded as a BBC title and retained when Origin sold off. The BBC tried to launch a competitor - Tomorrow's World - but this was an abject failure and closed within a year in 1998. Because of the strength of the German Focus brand internationally, the BBC used the title Science in Focus for licensed editions.
Gardens Illustrated (M): run by Bristol Magazines division
Gardeners' World revolutionised gardening sector in February 1991
Good Food (M) First of the BBC/Redwood launches and an instant success, despite negative industry reaction. IPC was incensed by the free TV trailers. Title distributed in US. In 2008, 22,616 copies a month were being sold overseas
Good Living (M): Used as a strap-on to Good Food in September 1997
History (M): run by Bristol Magazines division
Holidays (closed)
Homes & Antiques
Knowledge ( 6 a year; US and Canada): first North American-specific launch in August 2008. The editor was Sally Palmer with US science journalist John Horgan (Stevens Institute of Technology) consultant editor. BBC Worldwide distributed 60,000 copies at launch and 80,000 for the second issue. This followed a 1.3m direct mailing. CMG was the newsagent distributor and the title was sold at Barnes & Noble, Borders and Hudson News airport shops in the US. Andy Benham, publishing director said: 'The magazine has been positioned to capitalize on the strength of the BBC’s brand in the US and while the content will feed American interests, the Britishness and BBC-ness of the magazine are seen as being key assets.' The magazine was licensed to The Institute of Science Culture & Education in Korea, which planned to publish 12 editions a year. Editions were then launched in Brazil, Singapore, Bulgaria and Malaysia; and in the UK (focusing on subscriptions) in October 2010. The title will also be published in India from November 2010 by Worldwide Media, a joint venture with the Times of India. BBC Knowledge is a television channel in Poland, Singapore, Hong Kong and Indonesia.
The Listener (W): Founded in 1929 and closed in 1991. Weekly review of radio programmes with transcripts of the best broadcasts. The Listener Crossword, first published on 2 April 1930, lives on in The Times, where it has been published every Saturday since no. 3090 on 23 March 1991. In 1941, Benjamin Britten read an article, ‘George Crabbe: the Poet and the Man’ by E.M. Forster in the May issue of The Listener. This inspired an interest for him in the work of George Crabbe, a fellow East Anglian born in the Suffolk seaside town of Aldeburgh in 1754, and led to the writing of the opera Peter Grimes, which had its first production in June 1945 at London’s Sadler's Wells theatre
Lonely Planet (M) 2008 launch of magazine followed controversial takeover of the travel guide publisher in 2007. By 2010, there were 9 international editions
Match of the Day Launched 1995. Closed when BBC lost rights to screen premiership football in 2001
Music (M): launched September 1992. Claims to be world's best-selling classical music magazine. March 1993 debut in US; autumn 94 for German language and overseas English versions. run by Bristol Magazines division. In 2008, 22,030 copies a month were being sold overseas
Olive (quarterly; Christmas 2003). 'Eating + Living + Going Places.' Did not use BBC branding. Launched at same time as version of Australian title Delicious from Seven in the UK, led by ex-BBC/Redwood staff
Radio Times (W): Claims to be UK's most profitable magazine. Launched in September 1923, it was the UK's biggest-selling magazine until overtaken by Reader's Digest in 1993
Sky at Night (M): launched by BBC Origin and retained as part of Bristol Magazines division
Star (closed 2001) Codename Project G, a celebrity-led fortnightly glossy for teens, based on the US titles Entertainment Weekly, Teen People and US Weekly (each sell 1.5m copies a week). £2m backing for Oct 2000 launch; print run 400,000. Target sales 200,000. Closed after a year
Tomorrow's World failed within a year, despite the programme's success and cover-mounts
Top Gear (M) Spin-off from TV programme, which was attracting 5m viewers a week, became top-selling motoring monthly. Launched September 1993
Top of the Pops (Fortnightly). March 1995 launch
What to Wear : quarterly spin-off from Trinny and Suzanna programmes. Closed
Wildlife (M): run by Bristol Magazines division
Contract titles run by Bristol Magazines division.
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On Feb 28, 1993, agents from the Bureau of Alcohol, Tobacco, and Firearms raided the Branch Davidian complex, headed by David Koresh, in what Texas city? | Branch Davidian Raid in the History section at Census.gov | Day 51
Branch Davidian Raid in the History section at Census.gov
To me this seems quite odd, as are most of the other subjects included in the “History” section of the U.S. Government CENSUS website:
Picture included in the “History” section at Census.gov
On February 28, 1993, the U.S. Bureau of Alcohol, Tobacco and Firearms (ATF) raided the Branch Davidian compound in Waco, TX. The raid resulted in the deaths of four agents and six Davidians, and the start of a 51-day standoff.
The standoff ended when U.S Attorney General Janet Reno approved an assault in which the Branch Davidians were to be removed from their building by force. In the course of the assault, the church building caught fire and 76 Branch Davidians (including leader David Koresh) died.
| Waco, Texas |
Bib, iceberg, oak leaf, and romaine are all types of what? | Todd Wayne McKeehan (1964 - 1993) - Find A Grave Memorial
McLennan County
Texas, USA
Special Agent Todd McKeehan was one of four federal agents killed when they raided the compound of a religious cult for weapons violations.
Special Agent McKeehan was a U.S. Marine Corps veteran and had served with the ATF for 4 years.
A bridge on US19E, between Elizabethton and Johnson City, Tennessee, Agent McKeehan's home state, was dedicated in his honor.
Four agents of the Bureau of Alcohol, Tobacco, & Firearms were shot and killed in a raid on the Branch Davidian Compound in Waco, Texas. The Branch Davidians were a religious cult that idolized their leader, David Koresh. A two-month standoff followed the initial raid and ended when the Branch Davidians conducted a mass murder-suicide, by gunfire and fire, which resulted in the deaths of over 80 of its members.
The raid was the catalyst for the terrorist bombing of the Alfred P. Murrah Federal Building in Oklahoma City, Oklahoma, on April 19, 1995 - exactly two years after the mass suicide. The terrorist bombing claimed the lives of 168 people, including eight federal law enforcement agents.
| i don't know |
Currently, the oldest flying space shuttle in the fleet, which shuttle was launched last week on mission STS-133 to the International Space Station? | Space Shuttle Discovery's Legacy: 26 Years of the Right Stuff
Space Shuttle Discovery's Legacy: 26 Years of the Right Stuff
By Robert Z. Pearlman, collectSPACE.com Editor |
October 29, 2010 07:26am ET
MORE
This illustration depicts NASA's space shuttle Discovery encircled by the mission patches from each of its 39 missions, from STS-41D to STS-133, to display its long legacy as NASA's most-flown orbiter. The shuttle is flying its 39th and last flight in February/March 2011.
Credit: NASA
This story was updated at 10:33 a.m. ET.
Space shuttle Discovery is set to launch on its final flight next week, concluding a nearly three-decade legacy as arguably the most historic orbiter in NASA's fleet.
The first of NASA?s three remaining shuttles set to retire, Discovery was the third orbiter built and the one launched the most times into space.
Its final mission, STS-133, is scheduled to launch Tuesday (Nov. 2) at 4:17 p.m. EDT (2017 GMT). The launch will mark the Discovery's 13th visit to the International Space Station (ISS) and its 39th trip into space.
?This particular orbiter has served us extremely well,? said launch director Mike Leinbach, comparing Discovery to its sister ships Atlantis and Endeavour. ?It is the fleet leader. It is going to be hard to see her retire but we need to do what we need to do for the agency and so we'll get on with her final flight and it make it the best one ever.? [Video: Legacy of Shuttle Discovery]
Discovery will deliver to the station the Permanent Multi-Purpose Logistic Module (PMM), the last U.S. room to be added to the orbiting laboratory to serve as a storage closet for the station?s supplies and spare equipment.
Also on board is Robonaut 2, the first humanoid robot to fly in space designed to assist astronauts inside and eventually outside the outpost.
Scheduled to last 11 days, Discovery?s last flight will bring its total time in space to more than 360 days ? nearly an entire year flying around Earth.
?It will have flown about a year on orbit by the time we are done with it, which is pretty remarkable for a space shuttle,? said Discovery's commander Steven Lindsey, who is making his third flight on the storied space plane.
A historic ?year? in space
Discovery was built between 1979 and 1983 and made its maiden flight on Aug. 30, 1984, from NASA?s Kennedy Space Center in Florida. But before it could depart on the six-day STS-41D mission, Discovery experienced the shuttle program?s first pad abort.
A first launch try, attempted two months earlier, ended just four seconds before liftoff. Discovery?s three main engines shut down, which was then followed by a hydrogen fire on the pad.
"Gee, I thought we?d be a lot higher at MECO!? radioed mission specialist Steve Hawley from onboard the shuttle at the time, referencing NASA's term for main engine cutoff.
Discovery flew to space five more times? mostly to deploy satellites ? before standing down after the shuttle Challenger accident in January 1986.
Two years later, Discovery was the first orbiter to return to flight. Returning NASA's shuttle fleet to flight after a major tragedy is a role Discovery served again 17 years later, in 2005, following the 2003 loss of the orbiter Columbia.
?It was the pathfinder as we put new systems in place, new safety features,? said launch integration manager Mike Moses.
A legacy of space firsts
Between its STS-26 mission in 1988 and STS-114 return to flight in 2005, Discovery logged 23 more trips to space, making history along the way.
?Quite a remarkable history for Discovery, it's had a whole bunch of firsts,? Moses said.
Among those firsts was the first Russian cosmonaut aboard a U.S. mission, the first rendezvous with the Russian space station Mir, the first female pilot and the first crew rotation for the International Space Station.
Discovery also set the record for flying the oldest crew member in history ? 77-year-old Mercury-astronaut-turned-U.S.-senator John Glenn ? and recorded the highest altitude reached by any shuttle mission.
That shuttle altitude record was set in 1997 during a mission to service the Hubble Space Telescope, a payload it first deployed into orbit seven years earlier.
Discovery, NASA?s oldest shuttle still in service, was instrumental to the assembly of the International Space Station, delivering the largest module ? Japan?s Kibo laboratory ? and the final segment for the outpost?s ?backbone? truss, among other components.
By the numbers
Over the course of its 26 years in service, Discovery has racked up an impressive set of statistics unmatched by any other spacecraft in history.
As it stands today before flying on STS-133, Discovery has logged 142,917,535 miles circling the Earth a total of 5,628 times.
It has carried 183 astronauts and cosmonauts to and from space, filling 246 seats on 38 missions.
And Discovery docked with space stations 13 times: once with the Mir outpost and 12 times with the ISS.
All these numbers add up to a historic legacy, STS-133 mission specialist Nicole Stott said.
?It is an historic thing, I think, that we have such a special vehicle to fly. In addition to the hope we will have a successful mission, in conclusion we will be celebrating the real significance of the vehicle itself,? she said.
?We have to look at this [STS-133 mission] as a celebration of just how wonderful Discovery has performed and just how fantastic a team that has put it together and worked to make it happen.?
Video ? Space Shuttle Discovery: A Retrospective, Part 2, Part 3
GRAPHIC: Meet Robonaut 2: NASA's Space Droid, Robonaut 2 Photo Gallery
| Discovery |
George Holliday famously videotaped the LAPD violating the civil rights of whom, on March 3, 1991? | Shuttle Discovery glides to final landing (UPDATED) | STS-133, Space News, Space Science, International Space Station
Shuttle Discovery glides to final landing (UPDATED)
Posted at 12:30 PM, 03/09/11 Update: Shuttle Discovery glides to final landing
Updated at 02:15 PM, 03/09/11: Bolden welcomes crew home; Lindsey thanks ground crews
Updated at 05:30 PM, 03/09/11: Posting additional landing pictures
By WILLIAM HARWOOD
CBS News
KENNEDY SPACE CENTER, FL--Enduring the heat of re-entry one last time, the shuttle Discovery dropped out of orbit and returned to Earth Wednesday to wrap up a near-flawless 39th and final mission, a milestone marking the beginning of the end for NASA's winged rocketships.
After firing its twin braking rockets for a computer-controlled descent halfway around the planet, commander Steven Lindsey took over manual control and guided Discovery through a 250-degree left turn to line up on runway 15.
The shuttle Discovery touches down on runway 15 at the Kennedy Space Center. (Credit: NASA)
Pilot Eric Boe then deployed the ship's landing gear and the 204,000-pound shuttle swooped to a tire-smoking touchdown on runway 15 at 11:57:17 a.m. EST (GMT-5).
Lindsey had no problems with a stiff 25-knot headwind and a few moments later, NASA's oldest surviving space shuttle rolled to a halt, wrapping up a career spanning some 5,750 orbits, 148 million miles and 365 days in space during 39 missions since its maiden launch in August 1984.
"And Houston, Discovery, for the final time, wheels stopped," Lindsey radioed flight controllers in Houston.
"Discovery, Houston, great job by you and your crew," replied astronaut Charles Hobaugh in mission control. "That was a great landing in tough conditions and it was an awesome docked mission you all had. You were able to take Discovery up to a full 365 days of actual time on orbit. I think you'd call that a fleet leader and a leader of any manned vehicle for time in orbit. So job well done."
With only two more missions left on NASA's shuttle manifest -- a flight by Endeavour in April and a final voyage by Atlantis in late June -- Discovery's landing marked the beginning of the end for the world's most complex -- and expensive to operate -- manned rocket.
"We're seeing a program come to a close here and to see these shuttles, these beautiful, magnificent flying machines end their service life is obviously a little bit sad for us," Barratt said earlier this week.
"But it is about time, they've lived a very long time, they've had a fabulous success record, they've built this magnificent space station, they've given us lots of science and a tremendous amount of experience of just how to operate in space. More than anything, we look forward to seeing them retire with dignity and bringing on the next line of spaceships."
The shuttle Discovery races by, moments after landing at the Kennedy Space Center to wrap up its 39th and final mission. (Credit: NASA/Bill Ingalls)
Lindsey, Boe, Barratt and their crewmates -- Nicole Stott and spacewalkers Stephen Bowen and Alvin Drew -- were welcomed home by NASA Administrator Charles Bolden, space operations chief Bill Gerstenmaier, shuttle program manager John Shannon, Launch Director Mike Leinbach and scores of other agency managers and engineers who turned out for Discovery's final homecoming.
"It's great to be back," Lindsey said on the runway. "Discovery launched and came back on this flight, just like my previous two flights on Discovery, with absolutely no liens against her, no single system with any problems whatsoever. ... It's because of the Kennedy Space Center work force here that takes care of this vehicle, it came back as perfect on its final flight as it did on its first flight.
"This is a pretty bittersweet moment for all of us. As the minutes pass, I'm getting sadder and sadder about this being the last flight. And I know all the folks involved in the shuttle program feel the same way."
Lindsey thanked Discovery's processing team for "giving us just a fantastic vehicle to fly. It was a privilege to be in charge of her for just a couple of weeks and I'm sad to give her back. But I couldn't imagine giving her back into better hands than this group right here."
The shuttle Discovery, moments before touchdown. (Credit: NASA).
Over the course of an extended 13-day mission, Lindsey and his crewmates attached a final U.S. module to the International Space Station, delivered a spare set of radiator panels and an external stowage platform and transferred several tons of supplies and equipment to the lab complex.
Bowen and Drew also staged two spacewalks to accomplish a variety of long-planned maintenance tasks. And the astronauts helped their station colleagues service a U.S. oxygen generator and a carbon dioxide removal system.
"When we walk away from her on the runway after we land, there's going to be tears in my eyes, I know," Stott said of Discovery. "I worked with her at Kennedy Space Center and the chance to fly (the last mission) has just been a real, real privilege."
With Discovery safely back on Earth, engineers in the nearby Vehicle Assembly Building made final preparations to haul the shuttle Endeavour to launch pad 39A Thursday for work to ready the ship for its 25th and final launch April 19.
If all goes well, NASA will close out the shuttle program by launching the Atlantis June 28 on a final space station resupply mission.
Discovery's landing brought that long-awaited -- and to some, long-dreaded -- end game into sharp focus. Barratt captured the thoughts of many space workers when he reflected on the shuttle program's legacy from orbit.
"I think about this space shuttle fleet like the clipper ships that were strong and fast and powerful, they did their jobs but they were also graceful and beautiful," he said. "They conjured up imagination, of foreign travel, exotic places, of exploration. And Discovery is just an elite member of this elite fleet.
"The clippers faded, and it was because there was an alternative, there was another ship that was coming in -- steam power -- that was stronger, faster perhaps, but not quite as beautiful.
"We have the legacy of the clippers in our shuttle fleet and it's a legacy that everybody who's ever touched these vehicles should be extremely proud of," he said. "I think the only problem area there is we don't have that follow on, we're not replacing the shuttle with something and I think that's what makes it a little bit sad for us."
At the same time, he said, "it is a time to celebrate."
"The legacy this spaceship has made for herself is just nothing more than cause for celebration, she's returned so much science, so much experience and the experience that we as crew members have had has just been marvelous and again, something our country should be very, very proud of."
The end of the line: Discovery is towed back to its processing hangar for decommissioning. (Credit: NASA TV).
In the wake of the 2003 Columbia disaster, the Bush administration ordered NASA to complete the International Space Station and retire the shuttle by the end of fiscal 2010, a target that eventually slipped to June because of a variety of technical issues. The idea was to free up money to develop a new generation of safer, lower-cost rockets and spacecraft to carry astronauts back to the moon by the early 2020s.
But the Bush administration never fully funded the proposed Constellation moon program and President Obama concluded it was not affordable. He ordered NASA to help private industry develop commercial spacecraft to ferry astronauts to and from the space station while the agency focuses on deep space exploration.
How that strategy will play out in the ongoing budget debate is not yet clear. But for the next several years, until a new rocket debuts to replace the shuttle, the only way for U.S. astronauts to reach orbit will be to hitch rides aboard Russian Soyuz spacecraft.
"We won't do anything nearly as complex with another vehicle for a very long time," Drew said Tuesday. "Five or 10 years from now, they're going to look back and say 'how did we ever build a vehicle that could do all these things?'
"This was a pretty bold and audacious thing to put together back in the 1970s and I just don't know if we have that audacity now to build something nearly as ambitious as the shuttle."
Over the next few months, Discovery will be decommissioned and ultimately turned into a museum display.
NASA has not yet announced where the orbiters will end up, but it's widely expected that one of them will be displayed at the Smithsonian's National Air and Space Museum.
The contract authorizing construction of Discovery was awarded Jan. 29, 1979, and initial work to begin building the crew module began the following August. The spacecraft was completed at North American Rockwell's Palmdale, Calif., plant in October 1983 and was ferried to the Kennedy Space Center Nov. 9, 1983.
Following an on-pad main engine test firing June 2, 1984, NASA attempted to launch Discovery on its maiden voyage the following June 26. But in a moment of high drama, the shuttle's main engines shut down seconds after ignition because of a sluggish fuel valve.
The problem was corrected, and commander Henry Hartsfield and his crew, including Challenger astronaut Judith Resnik, finally blasted off Aug. 30, 1984, on a successful mission to deploy three commercial communications satellites and to test space station construction techniques.
Over the next 26 and a half years and 39 flights, Discovery carried out four military missions, two Spacelab science flights, two visits to the Russian Mir space station, one Mir docking and 13 missions to the International Space Station. At least 24 civilian and military satellites were carried into space, including the Hubble Space Telescope.
Discovery also flew the return-to-flight missions following the 1986 destruction of the shuttle Challenger and the 2003 loss of Columbia. In addition, two stranded communications satellites were plucked out of orbit by spacewalking astronauts and brought back to Earth for repairs in November 1984 in what many veterans consider the most daring shuttle mission ever attempted.
"When you really look at the space shuttle and its capability, it can do everything, everything you can think of in space except for one thing, it can't leave low-Earth orbit, but it can do everything else," Lindsey said in a NASA interview
"It can do robotics. It can do science. It can go dock. When you dock with the space station, in the end you have to maintain a three-inch corridor and one degree of attitude error and you can easily fly the shuttle manually and maintain that. I mean, that's unbelievable for a 120-ton vehicle.
"I don't think there's going to be another one that's ever going to match the versatility of the space shuttle, and I think that's the legacy."
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Sunday saw the Seattle Mariners play their first spring training game. In what Arizona city do they have their training camp? | Seattle Mariners Spring Training - Spring Training Online
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Seattle Mariners Spring Training
310L, 385LC, 410C, 385RC, 310R
Surface
Saturday, December 10, 10 a.m. MST
Ticket Line
16101 N. 83rd Av., Peoria, AZ 85382
Directions
The ballpark is best accessed from the outer loop of Phoenix highways and freeways. From Hwy. 101 (Agua Fria Freeway), take Bell Road and go east to 83rd Avenue. Go south (to the right) and the sports complex will be to the left. It’s well-marked and you’ll see the place from the freeway.
Seattle Mariners Spring Training: Party in Peoria
Peoria Stadium is considered by many to be among the best ballparks in the Cactus League, despite being one of the oldest these days. The Seattle Mariners and the San Diego Padres share the ballpark, so a visit to Peoria – a suburb of Phoenix – during any point in spring training will undoubtedly find a game going on, but 2015 renovations tightened the supply of tickets available for most dates.
The complex was the first MLB spring-training facility shared by two teams. (There had been situations where two teams played games in the same ballpark, but they maintained separate training facilities.) Today, of course, almost every new training camp in the Cactus League is built for two teams.
The Peoria Stadium complex contains two 40,000-square-foot clubhouses, indoor and outdoor batting tunnels, 12 major-league-sized practice fields (two lighted), and four half fields. The extensive facility allows both teams and their minor-league squads to practice simultaneously.
More than any other Cactus League facility, any spring-training game at Peoria Stadium feels like a real event. There’s always a lot of traffic and excitement surrounding a game – both the Padres and the Mariners draw well during spring training – and the games certainly sport a carnival-like atmosphere. There are some who decry the location of the ballpark (set, essentially, in the midst of a series of strip malls), but fans seem to love the wide variety of restaurants within walking distance of the park. The ballpark and the games also feel like they are part of the local community: you can expect to see many members of the Peoria Diamond Club – the “Red Shirts” at games – who raise funds for local charities.
The renovation of the spring home of the San Diego Padres and Seattle Mariners is a three-phase project. The first renovation phase focused on the player facilities, as clubhouses were expanded and upgraded. The second renovation, which took place this offseason, address fan features and comfort. Approximately 1,000 new seats were installed (most with cupholders), including two new rows in front of the existing seating. The playing field was lowered and seating down the line reoriented to home plate.
The ballpark’s expanded footprint also includes a new 4,900-square-foot building on the third-base side that features a new team store, restrooms, bar, and second-level group area.
A new concrete concourse expanded capacity in the outfield and left-field corner, with the wraparound concourse now a spacious place to stroll before or during a game. The signature berm remains, but the addition of a large 2,400-square-foot social pavilion – designed for groups, but open to the public if not reserved by a group – and shaded bar area provides a perfect space to hang out with friends.
This social pavilion isn’t the only shaded area in the outfield concourse: a 60-foot Four Peaks Brewing Company tent serves Short Hop Session IPA, Kilt Lifter, Sunbru and Peach Ale, along with other craft-beer offerings, while a right-field all-you-can-east tent offers ballpark goodies for $20.
All in all, the changes raised total ballpark capacity to 12,339.
Spring Training History
The Seattle Mariners have trained in Arizona since their American League inception in 1977: from 1977 to 1993 the team trained in Tempe, while in 1994 the team moved to the new ballpark in Peoria.
| Peoria |
Working in military intelligence during WWII, eventually achieving the rank of major, Diana Prince is the alter ego of what DC Comics superhero? | San Diego Padres and Seattle Mariners Spring Training
San Diego Padres and Seattle Mariners Spring Training
Area Info - Peoria
Spring Training home of the Mariners since 1993 and Padres since 1994
Ballpark address:
THIS PAGE WILL BE UPDATED LATER TO REFLECT THE CHANGES THAT WERE MADE TO THE STADIUM FOR 2016. DUE TO ITS RENOVATION, SOME INFORMATION BELOW WILL BE INACCURATE.
Location
The 145-acre Peoria Sports Complex is at the heart of the city's entertainment, retail and dining core. Upscale apartment and office buildings round out the surrounding mixed-use development, all of which are in the shadows of the Loop 101.
Directions
Take 1-10 or I-17 to Loop 101 and exit at Bell Road (exit #14). Travel east a very short distance and then turn right onto N 83rd Avenue. The stadium is about a half mile ahead on your left. Turn onto Paradise Lane if you want to park behind the outfield. Take either of the next two streets (Stadium Way or Mariners Way) if you want to park behind the main grandstand.
Note: Loop 101 is also referred to as the Agua Fria Freeway.
Parking
A plethora of paved parking is on each side of the stadium, 2,700 spaces in total. The parking lots are split into east (outfield) and west (home plate) sides.
Cost: $5
Stadium Information
The Peoria Sports Complex is nothing if not a trend-setter. Built for $32 million on what was once barren desert land, it was the first spring training facility designed to be shared by two teams. The stadium also had the dual purpose of becoming the economic catalyst for development in Peoria. It was very successful in that regard and most new Cactus League projects since have followed Peoria's two-team complex blueprint. Made with sandstone shaded concrete and blue steel, the stadium in Peoria introduced the modern outfield spanning berm and 360-degree concourse to spring training fans. The backdrop is dominated by buildings built in the same earth tone colors as the stadium, plus palm trees and distant mountain vistas. The stadium was constructed early enough in the 1990s that the concourse was built behind the grandstand. While that couldn't be fixed with a $9 million renovation that was finished in 2015, the grandstand's original seats were finally replaced and a new group area placed in left field was among the amenities that were added to modernize the stadium, which resulted in the Mariners and Padres extending their lease for another 20 years after their original 20-year lease expired. Until Camelback Ranch opened in 2009, the Peoria Sports Complex was the only spring training venue not to be named ballpark, park, field or stadium. Its name instead highlights the complex's 12 full-sized practice fields, four practice infields, and other baseball training facilities.
Fast Facts
Fans enter the ballpark at street level through one of four gates, depending on where they park. Gates A, B and C are on the stadium's west (home plate) side. Gate D is in the outfield, accessed from the east parking lot. Gate B, which is along the third baseline, is the main entrance.
The box office, with 11 ticket windows, can be found behind home plate, between Gates A and B. A 5-window ticket booth is in center field next to Gate D. Will Call tickets can be picked up at any window.
A continuous concourse runs behind the grandstand and above the berm. It allows fans to completely encircle the stadium.
Both bullpens are cut into the outfield berm near the foul poles - the Mariners� in left, the Padres� in right.
The stadium's only scoreboard is located behind the berm in left-center field and features a video board and electronic line score.
The backside of the scoreboard serves as the stadium's welcome billboard, but is visible only to fans who enter the east (outfield) parking lot.
The Kid�s Zone behind the first base grandstand has a wiffle ball infield that's one-third the size of a Major League diamond. Additionally, there's an inflatable �Home Run Derby� that lets kids practice their hitting, while "kids" of all ages can get their fastball clocked at the speed pitch station.
The first game played at the complex each spring is a charity game between the Padres and Mariners. All proceeds from that contest are distributed to local charities.
Small souvenir stands are along the first and third baseline concourses while the big walk-in "Team Store," as it's simply called, is adjacent to Gate C, which corresponds to a behind third base location.
Practice Fields
The training complexes for both teams are adjacent to the main stadium, running parallel to its first base line (Mariners) and then extending beyond it (Padres). Each contains six full-sized fields and all of them have covered bleachers for spectators.
Practice fields in both complexes are simply numbered 1 through 6. In each, major leaguers use fields 1 & 2 while the minor leaguers occupy fields 3-6 once they have reported to camp.
Fans heading to the Padres� practice facilities should park in the stadium's east lot, accessed via Paradise Lane. Fans wishing to watch Mariners practices and pre-game preparations should park in the west parking lot, best entered from Mariners Way.
Gates for the practice fields open to the public at 9:15 a.m.
Types of Seating
The stadium's grandstand holds 6,105 chair back seats, all painted blue. Bleacher benches without seat backs are found down each outfield line, totaling 1,728 seats. The spacious berm can hold up to 3,500 people.
Stadium seats: All 100 level sections and 200-215, 217 & 219
Bleachers: Sections 216, 218 & 220
Berm: Spans the outfield
Notes about the seating
The Mariners dugout is on the third base side. To make sure you're on the Seattle side of the stadium, buy your tickets in any odd numbered section.
The Padres dugout is on the first base side. To make sure you're on the San Diego side of the stadium, buy your tickets in any even numbered section.
An aisle cuts through the middle of the grandstand. All 100 level seats (Infield and Outfield Box) are below the aisle, while 200 and 300 level seats (Upper Box, Bleachers and Club) are above it.
The only seats that have cup holders are those sold as Infield Box and Club. That's sections 100-114 and 300-303.
Handicap accessible seating is available in platforms cut into the top of these sections: 101-104, 115-122. Club seating (sections 300-303) also offers limited accessible seating.
The protective screen behind the batter extends from sections 100-104 but does not obstruct views of those sitting behind it.
Standing room is generally limited to the berm.
Ushers allow fans to move freely about the ballpark, only occasionally checking ticket stubs in the Infield Box sections behind and between the dugouts.
Sections and rows
Rows for sections with stadium seats range as follows:
A to O in sections 100-102; A to K in sections 103-104; G to O in sections 105-114; A to O in sections 115-116; A to K in sections 117-118; C to K in sections 119-121; C to N in section 122; C to K in sections 123-124; AA to KK in sections 200-208; AA to OO in sections 209, 211, 213; AA to PP in sections 210, 212, 214; 1 to 4 in sections 305-308
Rows for sections with bleacher seats range as follows:
AA to PP in sections 215-220
Rows I and II are skipped in their respective sections.
Tickets
Sections 100-118 are sold as Infield Box.
Sections 119-124 are sold as Outfield Box.
Sections 200-215, 217, 219, 309-319 are sold as Upper Box.
Sections 216, 218 & 220 are sold as Bleacher.
Sections 305-308 are sold as Club.
Space on the berm is sold as Lawn Seating.
The price of tickets for all sections increases by $2 on game day.
Children ages 2 & under are admitted free but are required to sit on an adult's lap if in the grandstand.
Seats to avoid
The bleachers have no seat backs and that's generally not fun (or comfortable).
Seats in the shade
This ballpark gets a lot of sun and its tiny trellised roof does a surprisingly good job at blocking much of it for those sitting above the cross aisle. Benefiting the most are fans sitting in rows JJ and up in sections 200-214 and the Club seats in sections 300-303, as they are all generally sun free since they are beneath the roof, which was designed to cast shade even further down the grandstand. Because of that design, shade at game time during the afternoon can be found in most of the even-numbered 200 sections. An hour and a half after a 1:05 p.m. first pitch and all seats in sections 200-204, 206 & 213 are shaded, as are the vast majority of seats in the other 200-level sections.
VIP seating
The VIP Deck above the right field bullpen is available to groups of 20 to 100, who get to enjoy all you can eat ballpark fare in the covered deck. Fans with regular tickets may be upgraded to this area (without the free buffet) day of game if the VIP Deck is not booked by groups. Suites must be booked in advance. They are found within the same structure behind home plate that holds the press box, where each of the stadium�s 8 suites holds a dozen people. On either side of the press box there are two sections of 300 level open-air Club box seats, all of which are padded and walled off from the rest of the grandstand so fans must access them via stairs or through the lobby staircase or elevator.
Game Day
All gates open approximately an hour and a half before game time. That's 11:30 a.m. for a 1:05 p.m. start and 5:30 p.m. for a 7:05 p.m. start.
Food, drink and bag policy
Sealed bottles of water can be brought inside the stadium. So too can empty plastic/sport bottles and unopened single serving juice boxes.
Paper lunch bags containing food may be brought into the stadium.
Backpacks and other bags are allowed up to a maximum size of 16" x 16" x 8".
Elevated lawn chairs are not permitted, although strappy chairs and strollers are allowed in the berm. Fans in the bleachers are allowed to bring in small backed stadium seats (chairs in which the seat bottom rests directly on a surface).
Getting autographs
Neither the Mariners nor Padres take batting practice inside the stadium prior to games, opting instead to hit on their practice fields. Visiting teams generally hit in their home park before busing to Peoria. That all ads up to minimal activity inside the stadium before the game starts, when autograph opportunities are limited to sections nearest where the players stretch in the 20 minutes or so before game time. But Peoria is an autograph Mecca during and especially after the game, as fans can get very close to the clubhouses in the right field corner. All players exit the field through a gate there and walk beneath a bridge. Located near the right field bridge is a paved path that leads down to �Autograph Alley,� a landscaped area complete with artificial grass and hearthscape stone benches where the only thing separating fans from players is a blue wrought iron fence. Fans congregate at the fence while players walk by. Lots of them sign during the game (after they've been taken out) and a whole slew afterwards. Sometimes the visiting team's bus will also be stationed in that area, backing into place near the end of the game. When that's the case, it's best to position yourself along the fence in a place where you're not blocked from players' views by the bus as they enter and exit the clubhouse.
Unique ballpark fare
A dazzling array of specialty food options can be found in the Power Alley, a spacious and festive area behind the third base grandstand. Elsewhere, a specially priced kid�s meal (PB&J or hot dog, animal crackers and soda) can be found at the concession stand by the wiffle ball field, while a teriyaki grill cooks noodle bowls fresh to order for fans willing to make the trek out to left-center field. Outfield offerings in 2012 also included the likes of tri tip sandwiches and shrimp or fish tacos. Seemingly anything else a food connoisseur could ever want, from gyros to county fair fare, can be found in the Power Alley, making Peoria the pride of the Cactus League when it comes to dining. Drink choices are tame only by comparison. Pepsi is the cola of choice and craft breweries are well represented. Like all ballparks during spring training, beer on tap is plentiful and varies from stand to stand. Head to the outfield concourse for the biggest variety of options, as temporary but covered bars on each side serve up a bevy of not normal brews.
2017 Mariners Spring Training Schedule
(only home games at the Peoria Sports Complex are listed)
February/March
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On March 4, 1797, what was sworn in as the second US President? | John Adams inaugurated as 2nd president of... March 4 in History
July 16, 1775 - John Adams graduates Harvard
October 25, 1764 - John Adams marries Abigail Smith, marriage lasts 54 years
October 30, 1735 - John Adams, Braintree, Massachusetts, 2nd president of the United States, 1797 - 1801
More Notable Events on March 4:
1997 President Clinton bans federally funded human cloning research
1985 Virtual ban on leaded gas ordered by EPA
1979 U.S. Voyager I photo reveals Jupiter's rings
1837 City of Chicago incorporates
1801 Thomas Jefferson is the 1st president inaugurated in Washington D.C.
| John Adams |
Although born Claudia Alta Taylor, by what name is President Lyndon Johnson's first lady better known as? | Obama sworn in to second term, faces new challenges - CNNPolitics.com
Obama sworn in to second term, faces new challenges
From The CNN Washington Bureau
Updated 11:02 PM ET, Mon January 21, 2013
Chat with us in Facebook Messenger. Find out what's happening in the world as it unfolds.
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President Obama takes oath for second term 01:14
Story highlights
Quiet official ceremonies for Obama, Biden precede Capitol swearing-in on Monday
Chief Justice and Obama perform oath flawlessly this time
Public events will attract large crowds, but smaller than Obama's first inaugural
Obama has vowed to press for overhaul of immigration policies, find new ways to boost economy
With the official business of the 57th inauguration out of the way, Washington began preparing Sunday for a day of revelry -- and for the challenges facing President Barack Obama over the next four years.
Satisfying the constitutional obligation to be sworn in on January 20, Obama and Vice President Joe Biden took quiet oaths the day before the public ceremony at the Capitol, which is expected to attract a crowd of up to 800,000 on the National Mall.
Obama will become only the 17th U.S. president to deliver a second inaugural address before leading the traditional parade up Pennsylvania Avenue to the White House.
Monday's events will be smaller than Obama's first inauguration in 2009, when nearly two million people witnessed the swearing-in of the country's first African-American president.
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Photos: Presidential inaugurations since 1789
Photos: Presidential inaugurations since 1789
Barack Obama is sworn in as the 44th president of the United States in 2009. His wife, Michelle, is holding the Bible as he takes the oath of office, and they are joined by their daughters, Malia and Sasha. An estimated 1.5 million people attended the inauguration as Obama became the nation's first African-American president.
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George W. Bush takes the oath of office from Supreme Court Chief Justice William Rehnquist in 2001. Standing with Bush, from left, are daughter Jenna, wife Laura and daughter Barbara. Bush, the eldest son of former President George H.W. Bush, served two terms.
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Bill Clinton addresses the crowd at the US Capitol after being inaugurated in 1993. He was re-elected in 1996.
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President George H.W. Bush, left, shakes the hand of his son George W. Bush after being sworn in to office in 1989. The elder Bush had been vice president under President Ronald Reagan, whose two terms were up.
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President Ronald Reagan delivers his inaugural address at the US Capitol in 1981. As the ceremony was being held, Iran was releasing 52 American hostages.
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Jimmy Carter is joined by his wife, Rosalynn, as he takes the oath of office in 1977. He was the first president to walk from the Capitol to the White House in the post-inauguration parade.
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Gerald Ford takes the oath in 1974 next to his wife, Betty. He became president in August of that year after Richard Nixon resigned because of the Watergate scandal.
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Richard Nixon delivers his inaugural address in 1969. He was re-elected in 1972 but resigned two years after that.
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Lyndon B. Johnson takes the oath of office aboard Air Force One after the assassination of John F. Kennedy in November 1963. Standing on the right is Kennedy's widow, Jackie.
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John F. Kennedy is sworn in by Chief Justice Earl Warren in 1961. Kennedy, at 43, was the youngest ever to be elected president. This was the first inauguration ceremony to be televised in color.
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A crowd watches the inauguration ceremony of Dwight D. Eisenhower in 1953. Eisenhower, who served two terms, recited his own prayer after taking the oath of office.
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Harry S. Truman holds the Bible as he takes the oath of office in 1945. Standing beside him are his wife, Bess, and his daughter, Margaret. Truman was the vice president under Franklin D. Roosevelt, who died in office. Truman won re-election in 1948.
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Franklin D. Roosevelt is sworn in for his first term in 1933. He won four presidential elections and served in office until his death in 1945. The 22nd Amendment, ratified in 1951, ensured that he would be the last US president to serve more than two terms.
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People attend the inauguration of Herbert Hoover in 1929. Later that year, a stock market crash led to the Great Depression.
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Calvin Coolidge takes the oath of office in Plymouth, Vermont, in August 1923. President Warren G. Harding had just died, and Coolidge was vice president. Coolidge's father, John, administered the oath. He was a notary public.
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President Warren G. Harding waves to the crowd from the US Capitol's east portico in 1921. It was the first inauguration where an automobile was used to transport the president-elect to the Capitol.
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Woodrow Wilson gives his inaugural speech in 1913. Wilson broke with tradition and did not host any inaugural balls.
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William Howard Taft stands on the inaugural platform after taking the oath of office in 1909. His inauguration was held indoors because of a blizzard the day before.
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Theodore Roosevelt takes the oath of office in 1901. He was vice president to William McKinley, who died in office. Roosevelt, a distant cousin of future President Franklin D. Roosevelt, was the youngest president in history at 42 years of age. He was re-elected in 1904.
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William McKinley delivers his inaugural address in 1897. His inauguration was the first to be recorded on a movie camera. He died in office shortly after being re-elected in 1900.
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This engraved illustration of Benjamin Harrison's inauguration appeared on the cover of Harper's Weekly in 1889. It was raining during the ceremony.
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Grover Cleveland was the only president to serve two non-consecutive terms. He was inaugurated in 1885 (seen here) and 1893.
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Chester A. Arthur became the nation's 21st president after the death of James A. Garfield. There have been eight times in US history when a vice president has assumed the presidency because the president died in office.
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President James A. Garfield views the inauguration ceremonies in 1881. He was the first to watch the parade from a stand built in front of White House.
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Chief Justice Morrison R. Waite administers the oath of office to Rutherford B. Hayes. The usual inauguration day back then, March 4, fell on a Sunday in 1877. So the public ceremony was held on a Monday.
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Ulysses S. Grant takes the oath of office in front of a large crowd in 1869. Grant, the former Army general who helped the Union win the Civil War, served two terms.
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After the assassination of President Abraham Lincoln, Vice President Andrew Johnson assumed the presidency in a Washington hotel in 1865.
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Abraham Lincoln gives his inaugural address in 1861. The nation was on the brink of the Civil War, so Lincoln was heavily protected during his procession to the Capitol.
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Photos: Presidential inaugurations since 1789
The 1857 inauguration of James Buchanan was the first inauguration ceremony known to be photographed.
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Military units precede Franklin Pierce's carriage down Pennsylvania Avenue during his inauguration day parade in 1853. Pierce broke the tradition of kissing the Bible during the swearing-in ceremony. He placed his left hand on it instead.
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Photos: Presidential inaugurations since 1789
Millard Fillmore, seen here, became president after Zachary Taylor's death in 1850.
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Photos: Presidential inaugurations since 1789
Zachary Taylor delivers his inaugural speech on the steps of the Capitol in 1849.
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People gather for the inauguration of James K. Polk in 1845. It was the first inauguration ceremony to be reported by telegraph and shown in a newspaper illustration.
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John Tyler, seen here, took the oath of office after the 1841 death of William Henry Harrison. Harrison died after just 32 days in office.
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This lithograph shows the inauguration of William Henry Harrison in 1841. Harrison delivered the longest inaugural address in history (about 8,500 words). He caught a cold and died from pneumonia a month later.
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Photos: Presidential inaugurations since 1789
Martin Van Buren was inaugurated in 1837. For the first time in history, the president-elect and the outgoing president rode to the inauguration together.
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Photos: Presidential inaugurations since 1789
Andrew Jackson was inaugurated at the US Capitol in 1829. He was re-elected in 1833.
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John Quincy Adams, son of former President John Adams, was inaugurated in 1825. He is one of only three presidents who did not use a Bible at his inauguration. He opted for a volume of law. Theodore Roosevelt used no Bible or book at his first inauguration in 1901. Lyndon B. Johnson used John F. Kennedy's Roman Catholic Missal during his hastily arranged swearing-in aboard Air Force One.
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James Monroe's inauguration in 1817 was the first time that the swearing-in ceremony was held outside. The Capitol building was still under repair from its damage in the War of 1812.
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James Madison, the fourth US president, was inaugurated in 1809 and was the first to hold an inaugural ball to celebrate.
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Thomas Jefferson arrives on horseback for his inauguration in 1801. It was the first one held at the US Capitol.
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John Adams, the second US president, took the oath of office at the House Chamber Congress Hall in Philadelphia.
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| i don't know |
In music, what notation is used to indicate that the note is raised a half tone? | Music Notation Symbols
Music Notation Symbols
Clefs - Notes and Rests - Accidentals - Relationships - Dynamics - Accents - Repeats
Music Notation consists of a collection of music symbols that are used to better define the structure of a musical composition. These musical symbols will tell us the pitch that a song is played in, (clefs), the key that it is played using a key signature composed of sharps and flats, a pitch change in the composition, (sharps and flats), and where the silences between the notes are to be played, (rests). Some of theses music symbols also tell us where,and when to emphasize, or de-emphasize a particular segment of the music , ( accents , dynamics), or when to play a passage more than once, (repeats). There are different types of clefs, rests, dynamics, accents, accidentals and repeat symbols used in music notation, each one having a unique characteristic, and their use depends on what the composer wishes to accomplish in his musical score.
CLEFS
A Clef (from the French for "key") is a musical symbol used to indicate the pitch of written notes. Placed on one of the lines at the beginning of the staff, it indicates the name and pitch of the notes on that line. This line serves as a reference point by which the names of the notes on any other line or space of the staff may be determined. The two clefs that we most commonly use today are the G clef or treble clef, and the F clef or bass clef.
G clef (Treble Clef) - The center of the spiral defines the line or space upon which it rests as the pitch range of the composition
C clef (Alto Clef) - This clef points to the line (or space, rarely) representing middle C
F clef (Bass Clef) - The line or space between the dots in this clef denotes the pitch range
Octave Clef - Treble and bass clefs can also be modified by octave numbers
Neutral Clef - Used for pitch-less instruments, such as some of those used for percussion
NOTES AND RESTS
A Rest is an interval of silence in a piece of music, marked by a sign indicating the length of the pause. Each rest symbol corresponds with a particular note value
Multi-Measure Rest - Indicates the number of measures in a resting part depending upon the number over the rest
Double Bar Line - Used at changes in key signature, major changes in style or tempo, or to separate 2 phrases of music
Dotted Bar Line - Divides long measures into shorter segments for ease of reading
Beamed Notes -Beams connect and emphasize quavers, (1/8 notes), and shorter note values
Ledger Lines - Used to extend the staff to pitches that fall above or below it
Breath Mark - In a score, this symbol tells the performer to make a slight pause
ACCIDENTALS
An accidental is a note whose pitch is not a member of a scale or mode indicated by the most recently applied key signature. In musical notation, the symbols used to mark such notes, sharps, flats, and natural, may also be called accidentals. An accidental sign raises or lowers the following note from its normal pitch, usually by a semitone, although microtonal music may use "fractional" accidental signs, and one occasionally sees double sharps or flats, which raise or lower the indicated note by a whole tone. Accidentals apply within the measure and octave in which they appear and modify the pitch of the notes that follow them on the same staff unless cancelled by an another accidental.
Demiflat - Lowers the pitch of a note by one quarter tone
Flat - Lowers the pitch of a note by one semitone, or one half step
Flat-and-a-Half - Lowers the pitch of a note by three quarter tones
Double Flat - Lowers the pitch of a note by two chromatic semitones, or one whole step
Natural - Cancels a previous accidental, or modifies the pitch of a sharp or flat as defined by the prevailing key signature
Demisharp - Raises the pitch of a note by one quarter tone
Sharp - Raises the pitch of a note by one semitone
Sharp-and-a-Half - Raises the pitch of a note by three quarter tones
Double Sharp - Raises the pitch of a note by two chromatic semitones
Common Time - The equivalent of 4/4 time
Cut Time - Indicates 2/2 time
Metronome Mark - Defines the tempo of the music by assigning the durations of the note values within the score
NOTE RELATIONSHIPS
Triplet - Condenses three notes into the normal duration of two notes
Ligature - Also known as a phrase mark. A group of notes intended to be played or sung as one phrase.
Tie - Indicates that the two notes joined together are to be played as one note. A tie joins two notes of the same pitch
Legato - Notes covered by this sign are to be played with no gaps. Sometimes indistinguishable from a slur
Glissando (Portamento) - A continuous, unbroken glide from one note to the next that includes the pitches in between
Slur - Used in musical notation to indicate a group of notes that must be played smoothly. A slur may join any number of notes of varying pitches
Chord (Triad) - Three or more notes played simultaneously. If only two notes are played, it is called an interval
Arpeggio or Rolled chord - Like a chord, except the notes are played in rapid sequence
DYNAMICS
In music, dynamics normally refers to the volume of a note or the relative intensity of a note, but can also refer to every aspect of the execution of a given piece, either stylistic (staccato, legato etc.) or functional (velocity). In short they indicate the relative intensity or volume of a musical line
Piano - Soft
Mezzo-piano - Half as soft as piano
Pianissimo - Very soft. Usually the softest indication in a piece of music
Forte - Loud
Mezzo-Forte - Half as loud as forte
Fortissimo - Very loud. Usually the loudest indication in a piece
Sforzando - Denotes an abrupt, fierce accent on a single sound or chord
Decrescendo - A gradual decrease in volume, usually extends for several notes
Crescendo - A gradual increase in volume, usually extends for several notes
ACCENTS or ARTICULATIONS
Accents and Articulations specify how individual notes are to be performed within a passage. In music, an accent is an emphasis placed on a particular note, either as a result of its context or specifically indicated by an accent mark. A tonic accent is an emphasis on a note by virtue of being higher in pitch than surrounding notes. An agogic accent is an emphasis by virtue of being longer in duration than surrounding notes, in a way that shifts their time of onset. Dynamic accents are created when one note is louder than another.
Accent - The note is played louder or with a harder attack than any surrounding notes
Staccato - This indicates that the note is to be played shorter than notated, usually half the value
Staccatissimo - Indicates a longer silence after the note (as described above), making the note very short
Fermata - An indefinitely-sustained note or chord
Natural Harmonic or Open note - On a stringed instrument, denotes that a natural harmonic is to be played
Marcato - The note is played much louder or with a much harder attack than any surrounding notes
Trill - A rapid alternation between the specified note and the next higher tone or semitone within its duration
Tremolo - A rapidly-repeated note. If the tremolo is between two notes, then they are played in rapid alternation
Grace Note - The first half of the principal note's duration has the pitch of the grace note
REPEATS
Repeats give specific directions for navigating passages. In music, a repeat sign is the sign which indicates a section should be repeated. If the piece has one repeat sign alone, then that means to repeat from the beginning, and then continue on (or stop, if the sign appears at the end of the piece). A corresponding sign facing the other way indicates where the repeat is to begin. These are similar to the instructions da capo and dal segno.
Where the composer wants a different ending for the second time a repeat is played, they will place number brackets above the bars which are to be played the first time (1), and those which are to be played the second time (2). These are referred to as "first-time bar" and "second-time bar," or "first and second endings." Numbers higher than two can be given as well, which implies that the passage is repeated as many times as the highest ending number given.
Da Capo - Tells the performer to repeat playing of the song from its beginning. This is followed by al fine or al coda
Dal Segno - Tells the performer to repeat playing of the song starting at the nearest segno. This is followed by al fine or al coda
Segno - Sign that marks the beginning or end of a musical repeat, used with dal segno
Coda - Indicates a forward jump in the song to its ending passage, marked with the same sign. Only used after playing through a D.S. al coda or D.C. al coda
Volta Brackets (1st and 2nd endings) - Denote that a repeated passage is to be played in different ways on different playings
Repeat Signs - Enclose a passage that is to be played more than once
Simile Marks - Denote that preceding groups of beats or measures are to be repeated, more than once
| A-sharp |
March 2, 1956 saw the Kingdom of Morocco gain its independence from Spain and France. What are the 2 countries that border it? | Musical notation - Oscar van Dillen
Oscar van Dillen
Professional preparatory music theory: Basic elements of music theory.
Chapter 2 of the Basic elements of music theory – by Oscar van Dillen ©2014-16
The advanced learning book can be found at Outline of basic music theory .
Pages and chapters:
Musical notation
Musical notation is used to write or print sheet music for performance.
In a strict sense the words note and tone do not have the same meaning. Both can be notated, but a note is notated by its shape, and a tone by its vertical position on a staff. A note indicates a time value of relative duration, a tone indicates a pitch, a stable frequency of sound. Although musical notation uses both at the same time: notes are needed to notate rhythm, as tones are needed to notate melody and harmony.
Note and rest values
A note is the relative rhythmical value of a duration of a sound.
A rest is the relative rhythmical value of a duration of a silence.
Most written or printed music today makes use of a small set of notes, ranging from the whole note to the 1/16 note. To indicate silence, a set of corresponding rests exists as well.
The system of notation of durations works by double and half values. Two 1/2 notes or rests, add up to the same duration as a whole note or rest (two rests add up to a longer silence, but two notes generally mean two sounds, so it is not always identical); two 1/4 notes add up to the same duration as a 1/2 note; two 1/8 notes add up to the same duration as a 1/4 note; two 1/16 notes add up to the same duration as a 1/8 note; see and hear example 1 which compares and demonstrates this:
example 1 – most used note and rest values
In the example above, alternate directions are notated in the notestems, half of them are notated upwards and half downwards, and this suggests some grouping. Normally, stem directions depend on the position of a note on a staff: when it is high, the stem goes down, when it is low, the stem goes up. To more clearly show the rhythmical groupings, notes are always beamed together per beat, this means that the values flags are written as horizontal lines, as in the example below. In example 2, the exact same order is notated as before, but now graphically improved for reading:
example 2 – note values with beams
Time signatures
A time signature is a regular grouping of notes to a metric background for notation.
Most sheet music is notated in either 2/4, 3/4, 4/4 or 6/8 time signature. A time signature groups notes into a certain number of beats, and also implies a subdivision of each beat.
Binary time signature
There are 2 beats in a 2/4, 3 beats in a 3/4 and 4 beats in a 4/4 time signature. The upper number here indicates a number of beats, and the lower number indicates the 1-beat note (quarter note). These time signatures are also called binary (meaning: in 2), as each beat subdivides into 2. The basic note values of musical notation represent a binary system, as demonstrated in examples 1 and 2 above. In notation, the groups are called bars and are separated by vertical barlines. A piece of music always ends with a double barline.
A simple rhythmic phrase, using the binary 2/4 (pronounced two four) is given in example 3:
example 3 – simple rhythm in 2/4 with possible vocalizations
Note that in typing one writes 2/4, with a slash or line keeping the two numbers apart, but in musical notation no such (horizontal) line is written.
EXERCISES 1
To practice such rhythms, I developed a series of exercises, called Rhythmic Building Blocks. This website contains two such pages in pdf, one for the binary time signature of 2/4, here it is:
Important is how to practice this, here are my recommendations:
always use a metronome, start with slow tempi and build up gradually;
in the beginning, just singing, tapping or clapping is sufficient;
when some proficiency is attained, singing while tapping the beat is recommended;
when still more proficiency is attained, tapping while counting the beats becomes possible;
the three steps described above are progressively difficult;
the exercise consists of 2 bar phrases, each must be repeated at least once.
If one understands how a 2/4 time signature “works”, a 3/4 and 4/4 are merely somewhat longer versions of the same thing, and should offer no special problems in reading.
Ternary time signature
A ternary time signature can also have 2, 3, 4 or even more beats per bar, but the difference lies in the subdivision of each beat: in three instead of in two. To keep these visually apart, they are written with the shorter note value of an eighth note, such as 6/8 (two ternary beats), 9/8 (three ternary beats), and 12/8 (four ternary beats). In this way, each beat consists of three “subbeats”, and is therefore ternary. The 1/8 note does note represent the beat here, but the “subbeat”: the underlying smaller value within each beat. Much blues music has a ternary feel.
A simple rhythmic phrase, using the binary 6/8 (pronounced six eight) is given in example 4:
example 4 – simple rhythm in 6/8 with possible vocalizations
As you can observe, the ternary notes and rests are notated with a dot · next to them. Such a dot makes a note or rest ternary (in three parts), or one can say that it adds 50%.
EXERCISES 2
Important is how to practice this, here are my recommendations again:
always use a metronome, start with slow tempi and build up gradually;
in the beginning, just singing, tapping or clapping is sufficient;
when some proficiency is attained, singing while tapping the beat is recommended;
when still more proficiency is attained, tapping while counting the beats becomes possible;
the three steps described above are progressively difficult;
the exercise consists of 2 bar phrases, each must be repeated at least once.
If one understands how a 6/8 time signature “works”, a 9/8 and 12/8 are merely somewhat longer versions of the same thing, and should offer no special problems in reading.
Next, and simultaneously in your practicing, you should also study the notation of tones, practicing the reading and writing, and the hearing and singing skills, which are at the core of music theory.
Pitch and tone
A tone is the relative harmonic value of a pitch.
Basic tones
Internationally there are two systems of names for the basic tones:
the older system: do, re, mi, fa, sol, la, si
the newer system: c, d, e, f, g, a, b
These two systems indicate the exact same basic tones: do=c, re=d, mi=e, fa=f, sol=g, la=a and si=b. In English language music theory literature, the second system is always used, so this will also be used here.
The 7 tones c, d, e, f, g, a, and b are called the basic tones.
To notate pitch, a 5-line staf is used, plus a clef to indicate the register. In example 5 you can hear and see the basic scale of C over almost the full range of musical registers:
example 5 – basic c scale in all registers
The example above starts with a bass clef (also: f-clef) for three octave registers, and then the clef changes to treble clef (also: g-clef) just before the middle c. When listening to this example, we hear seven times the scale c d e f g a b in different registers, also called octaves. The eight note is the audible repetition of the same tone in a higher register 1=c, 2=d, 3=e, 4=f, 5=g, 6=a, 7=b and finally: 8=c. This eighth note is the octave. The word octave is derived from the Italian word ottava, meaning 8th. 8va is an abbreviated symbol (of otta=8 plus va) for purposes of notation, which you can see in example 5 where it is used for octavating the first seven tones down, and the very last eight up.
A second observation is that any tone is either through (also called: on) a line, or between two lines of the staff. In this way it can be seen at a glance which tone is notated. The five lines of the staff correspond to the number of fingers of one hand: the largest whole number all of us can immediately recognize without counting. When a tone is higher or lower than can be notated on the staff, extra lines are added to the notehead, these are called: ledger lines. They are slightly harder to read, and certainly require experience to recognize at a glance.
EXERCISES 3
It is important to practice this, here are my recommendations:
practice reading until your reading in both bass- and treble clef are about the same speed, but start by practicing them one by one;
copy sheet music neatly by hand, and then also in notation software;
when you do a good job, your handwriting should look more attractive than the computerwork;
do this at least once a week until you are fluent and you have developed a personal but clearly legible handwriting, just as with writing language.
Accidentals and enharmonic equivalence
Basic tones are called by simple letters, but these can be raised and lowered by special notation signs, the accidentals: flat and sharp. The white keys of a keyboard represent the basic tones, the black ones the alterations.
example 6a – keyboard layout with tone names
As can be clearly seen, the black keys have two names: one by lowering (flat or ♭) and one by raising (sharp or ♯). The two names are enharmonically equivalent: sounding the same but a different name.
Flat is sometimes represented by the letter b on a computer keyboard, whereas something like the sharp is already on the computer keyboard as the hashtag sign #. Each octave has 7 basic tones plus 5 alterations, which make up a total of 12 chromatic tones.
Two tones which are named differently but have the same sound or pitch are called enharmonic equivalences. They are enharmonically the same:
example 63 – enharmonic equivalence
The pronunciation of the altered tone names is in reverse order as in notation:
in notation, an accidental is placed before the tone: to the left therefore;
in naming, the tone name always comes first: c-sharp, d-flat, d-sharp, e-flat etc.
In sheet music, flats and sharps appear either just before tones, or at the beginning of the staff at the clef as a key signature. Sharps and flats at the clef as a key signature are always at fixed positions, indicating a key signature, to be treated later. Incidental sharps and flats are written just before a tone, on the exact same tone position (but have no ledger line) and are valid for the tone immediately following, as well as for all identical tones in that bar only. The cancellation of any such an alteration is done by the natural sign ♮.
Summarizing:
there exist 3 basic signs for alteration: ♯ sharp, ♭ flat and natural ♮;
the sharp changes the pitch of a basic tone a semitone up;
the flat changes the pitch of a basic tone a semitone down;
the natural cancels a previous alteration sign in notation;
sharps and flats can appear at the clef as a key signature (see section below).
EXERCISES 4
| i don't know |
March 2, 1904 marked the birth of one Theodore Geisel, best remembered as what famed literary genius? | Astrology: Dr. Seuss, date of birth: 1904/03/02, Horoscope, Astrological Portrait, Dominant Planets, Birth Data, Biography
1st Fire sign - 1st Cardinal sign (spring equinox) - Masculine
In analogy with Mars, his ruler, and the 1st House
Aries governs the head.
His colour is red, his stone is the heliotrope, his day is Tuesday, and his professions are businessman, policeman, sportsman, surgeon...
If your sign is Aries or your Ascendant is Aries: you are courageous, frank, enthusiastic, dynamic, fast, bold, expansive, warm, impulsive, adventurous, intrepid, warlike, competitive, but also naive, domineering, self-centred, impatient, rash, thoughtless, blundering, childish, quick-tempered, daring or primitive.
Some traditional associations with Aries: Countries: England, France, Germany, Denmark. Cities: Marseille, Florence, Naples, Birmingham, Wroclaw, Leicester, Capua, Verona. Animals: Rams and sheeps. Food: Leeks, hops, onions, shallots, spices. Herbs and aromatics: mustard, capers, Cayenne pepper, chilli peppers. Flowers and plants: thistles, mint, bryonies, honeysuckles. Trees: hawthorns, thorny trees and bushes. Stones, Metals and Salts: diamonds, iron, potassium phosphate.
Signs: Taurus
1st Earth sign - 1st Fixed sign - Feminine
In analogy with Venus, his ruler, and the 2nd House
Taurus governs the neck and the throat.
Her colour is green or brown, her stone is the emerald, her day is Friday, her professions are cook, artist, estate agent, banker, singer...
If your sign is Taurus or your Ascendant is Taurus: you are faithful, constant, sturdy, patient, tough, persevering, strong, focused, sensual, stable, concrete, realistic, steady, loyal, robust, constructive, tenacious. You need security, but you are also stubborn, rigid, possessive, spiteful, materialistic, fixed or slow.
Some traditional associations with Taurus: Countries: Switzerland, Greek islands, Ireland, Cyprus, Iran. Cities: Dublin, Palermo, Parma, Luzern, Mantua, Leipzig, Saint Louis, Ischia, Capri. Animals: bovines. Food: apples, pears, berries, corn and other cereals, grapes, artichokes, asparagus, beans. Herbs and aromatics: sorrels, spearmint, cloves. Flowers and plants: poppies, roses, digitales, violets, primroses, aquilegia, daisies. Trees: apple trees, pear trees, fig-trees, cypresses, ash trees. Stones, Metals and Salts: copper, calcium and potassium sulphate, emeralds.
Signs: Gemini
1st Air sign - 1st Mutable sign - Masculine
In analogy with Mercury, his ruler, and the 3rd House
Gemini governs the arms, the lungs and the thorax.
His colour is green or silver, his stone is the crystal, his day is Wednesday, his professions are journalist, lawyer, presenter, dancer, salesman, travel agent, teacher...
If your sign is Gemini or if your Ascendant is Gemini: you are expressive, lively, adaptable, quick-witted, humorous, sparkling, playful, sociable, clever, curious, whimsical, independent, polyvalent, brainy, flexible, ingenious, imaginative, charming, fanciful but also capricious, scattered, moody, shallow, inquisitive, opportunistic, unconcerned, selfish, fragile, ironical or changeable.
Some traditional associations with Gemini: Countries: Belgium, Wales, United-States, Lower Egypt, Sardinia, Armenia. Cities: London, Plymouth, Cardiff, Melbourne, San Francisco, Nuremberg, Bruges, Versailles. Animals: monkeys, butterflies, parrots, budgerigars. Food: dried fruits, chestnuts, ground-level vegetables: peas, broad beans, etc. Herbs and aromatics: aniseed, marjoram, lemon balm, cumin. Flowers and plants: lilies of the valley, lavenders, myrtle, ferns, Venus-hair-ferns, bittersweets. Trees: nut trees such as chestnut trees. Stones, Metals and Salts: agates, mercury, silicas and potashes.
Signs: Cancer
1st Water sign - 2nd Cardinal sign (summer solstice) - Feminine
In analogy with the Moon, her ruler, and the 4th House
Cancer governs the stomach and the breast.
Her colour is white or black, her stone is the moonstone, her day is Monday, her professions are catering, the hotel trade, property, antique dealer, archaeologist...
If your sign is Cancer or your Ascendant is Cancer: you are emotional, sentimental, peaceful, imaginative, sensitive, faithful, resistant, protective, vulnerable, generous, romantic, nostalgic, tender, poetic-minded, motherly or fatherly, dreamy, indolent, greedy, devoted but also timorous, unrealistic, evasive, passive, anxious, dependent, stubborn, moody, passive, lazy, touchy, stay-at-home or inaccessible.
Some traditional associations with Cancer: Countries: Holland, Scotland, North and West Africa, New-Zealand, Paraguay, Algeria. Cities: Amsterdam, Manchester, Tokyo, New York, Istanbul, Stockholm, Milan, Venice, Genoa, Cadix, Alger, Tunis, Bern, Magdeburg. Animals: crabs, animals with shells. Food: milk, fishes, watery fruits and vegetables, turnips, white and red cabbages. Herbs and aromatics: tarragon, verbena, saxifrage. Flowers and plants: geraniums, white roses and white flowers in general, water lilies, morning glory, bear's breeches, and lilies. Trees: all trees full of sap. Stones, Metals and Salts: pearls, silver, lime and calcium phosphate.
Signs: Leo
2nd Fire sign - 2nd Fixed sign - Masculine
In analogy with the Sun, his ruler, and the 5th House
Leo governs the heart and the spine, and the eyes, according to some authors.
His colour is gold or orange, his stone is the diamond, his day is Sunday, his professions are actor, manager, jeweller, fashion and arts, and action (e.g. fireman)...
If your sign is Leo or your Ascendant is Leo: you are proud, determined, strong-willed, loyal, solemn, generous, ambitious, courageous, heroic, conquering, creative, confident, seductive, happy, daring, fiery, majestic, honest, magnanimous, charismatic, responsible, noble, dramatic but also domineering, vain, susceptible, bossy, stubborn, intolerant, self-centred, violent, quick-tempered, nonchalant.
Some traditional associations with Leo: Countries: Italy, Romania, Sicily, Czechoslovakia, Iraq, Lebanon, Southern France. Cities: Rome, Prague, Bombay, Madrid, Philadelphia, Chicago, Los Angeles, Bath, Bristol, Portsmouth, Syracuse, Damas. Animals: lions and felines in general. Food: meat and especially red meat, rice, honey, cereals, grapes, iron-rich vegetables: watercress, spinach etc. Herbs and aromatics: saffron, mint, rosemary, common rue (Ruta graveolens). Flowers and plants: marigolds, sunflowers, celandines, passion flowers. Trees: palm trees, laurel, walnuts, olive trees, lemon and orange trees. Stones, Metals and Salts: gold, rubies, magnesium and sodium phosphate.
Signs: Virgo
2nd Earth sign - 2nd Mutable sign - Feminine
In analogy with Mercury, her ruler, and the 6th house
Virgo governs the intestine.
Her colour is green or yellow, her stone is the agate, her day is Wednesday, her professions are accountant, secretary, writer, computer scientist, nurse, doctor...
If your sign is Virgo or your Ascendant is Virgo: you are brainy, perspicacious, attentive to detail and numbers, analytical, serious, competent, scrupulous, sensible, modest, logical, tidy, well-organized, clean, hard-working, provident, honest, faithful, reserved, shy, helpful, a perfectionist, but also narrow-minded, calculating, irritating, petty, anxious, cold, repressed or caustic.
Some traditional associations with Virgo: Countries: Brazil, Greece, Turkey, West Indies, United-States (the same as Gemini), Yugoslavia, Crete, Mesopotamia, Lower Silesia, State of Virginia. Cities: Paris, Boston, Athens, Lyon, Corinthia, Heidelberg, spa towns in general. Animals: dogs, cats and all pets. Food: root vegetables: carrots, celeriac, kohlrabies, potatoes etc... Also dried fruits such as chestnuts. Herbs and aromatics: the same as Gemini whose ruler is Mercury too, lilies of the valley, lavenders, myrtles, ferns, Venus-hair-ferns, bittersweets, clovers. Flowers and plants: small bright-coloured flowers, especially blue and yellow, such as dandelions, buttercups, yellow dead-nettles, buglosses, forget-me-nots ; cardamoms, oak leaves, acorns. Trees: all nut trees, e.g. the hazelnut tree... Stones, Metals and Salts: sards (red agate), mercury, nickel, potassium sulphate and iron phosphate.
Signs: Libra
2nd Air sign - 3rd Cardinal sign (autumn equinox) - Masculine
In analogy with Venus, his ruler and the 7th House
Libra governs the kidneys and the bladder.
His colour is blue or red (not too bright), his stone is the opal, his day is Friday, his professions are in the beauty, luxury or fashion industry, musician, artistic creator, lawyer, mediator...
If your sign is Libra or your Ascendant is Libra: you are sentimental, charming, polite, refined, loyal, a pacifist, fair, distinguished, light-hearted, romantic, learned, ethereal, nice, well-groomed, a perfectionist, calm, sweet, tolerant, sociable, elegant, considerate, seductive, aesthetic, indulgent, but also hesitant, weak, indecisive, selfish, fragile, fearful, indolent, cool or even insensitive.
Some traditional associations with Libra: Countries: Japan, Canada, Indo-China, South Pacific Islands, Burma, Argentina, Upper Egypt, Tibet. Cities: Lisbon, Vienna, Frankfurt, Leeds, Nottingham, Johannesburg, Antwerp, Fribourg. Animals: lizards and small reptiles. Food: berries, apples, pears, grapes, artichokes, asparagus, beans, spices, corn and other cereals. Herbs and aromatics: mint, Cayenne pepper. Flowers and plants: hydrangea, big roses, blue flowers and those associated with Taurus also ruled by Venus, namely, poppies, digitales, violets, primroses, aquilegia, and daisies. Trees: ash trees, poplars, apple trees, pear trees, fig-trees, cypresses. Stones, Metals and Salts: sapphires, jade, copper, potassium and sodium phosphate.
Signs: Scorpio
2nd Water sign - 3rd Fixed sign - Feminine
In analogy with Pluto, her ruler with Mars, and the 8th House
Scorpio governs the sexual organs and the anus.
Her colour is black or dark red, her stone is the malachite, her day is Tuesday, her professions are gynaecologist, psychiatrist, detective, the military, army, stockbroker, asset managemer...
If your sign is Scorpio or your Ascendant is Scorpio: you are secretive, powerful, domineering, resistant, intuitive, asserted, charismatic, magnetic, strong-willed, perspicacious, passionate, creative, independent, vigorous, generous, loyal, hard-working, persevering, untameable, possessive, cunning, ambitious, sexual, proud, intense, competitive but also aggressive, destructive, stubborn, anxious, tyrannical, perverse, sadistic, violent, self-centred, complex, jealous.
Some traditional associations with Scorpio: Countries: Morocco, Norway, Algeria, Syria, Korea, Uruguay, Transvaal. Cities: Washington, New Orleans, Valencia, Liverpool, Milwaukee, Fes, Halifax, Hull, Cincinnati. Animals: insects and other invertebrates. Food: the same strong tasting food as for Aries: red meat, garlic, onions, leeks, spices. Herbs and aromatics: aloes, witch hazels, nepeta, mustard, capers, peppers. Flowers and plants: geraniums, rhododendrons, thistles, mint, honeysuckles. Trees: blackthorns, bushes. Stones, Metals and Salts: opals, steel and iron, calcium and sodium sulphate.
Signs: Sagittarius
3rd Fire sign - 3rd Mutable sign - Masculine
In analogy with Jupiter, his ruler, and the 9th House
Sagittarius governs the thighs and the liver.
His colour is indigo, orange or red, his stone is the carbuncle, his day is Thursday, his professions are explorer, commercial traveller, pilot, philosopher, writer, clergyman...
If your sign is Sagittarius or your Ascendant is Sagittarius: you are charismatic, fiery, energetic, likeable, benevolent, tidy, jovial, optimistic, extraverted, amusing, straightforward, demonstrative, charming, independent, adventurous, straightforward, bold, exuberant, freedom-loving.
Some traditional associations with Sagittarius: Countries: Spain, Australia, Hungary, South Africa, Arabia, Yugoslavia. Cities: Stuttgart, Toledo, Budapest, Cologne, Avignon, Sheffield, Naples, Toronto. Animals: fallow deers, hinds, and all games. Food: grapefruits, raisins, onions, leeks, bulb vegetables. Herbs and aromatics: aniseeds, sage, bilberries, cinnamon, borage, mosses, sage, blueberry, patience, balsam. Flowers and plants: dandelions, carnations, thistles. Trees: mulberry trees, chestnut trees, ash trees, lemon trees, oaks. Stones, Metals and Salts: topaz, tin, silica, potassium chloride.
Signs: Capricorn
3rd Earth sign - 4th Cardinal sign (winter solstice) - Feminine
In analogy with Saturn, her ruler, and the 10th House
Capricorn governs the knees, the bones and the skin.
Her colour is black, or grey, green or brown, her stone is the jade, her day is Saturday, her professions are politician, researcher, jurist, scientist, engineer, administrator...
If your sign is Capricorn or your Ascendant is Capricorn: you are serious, cold, disciplined, patient, focused, thoughtful, ambitious, indomitable, cautious, lucid, persistent, provident, steady, introverted, stern, wilful, hard-working, responsible, persevering, honest, realistic, loyal, reserved, resolute, moralistic, quiet, rigorous, attached and reliable. But you may also be curt, withdrawn, calculating, petty, cruel, unpleasant, ruthless, selfish, dull, rigid, slow or sceptical.
Some traditional associations with Capricorn: Countries: India, Mexico, Afghanistan, Macedonia, Thrace, the Yugoslavian coast, the Orkneys and Shetland Islands, Albania, Bulgaria, Saxony. Cities: Delhi, Oxford, Brussels, Mexico, Port-Saïd, Gent, Constance, Mecklenburg, all the administrative centres of capital cities. Animals: goats, pigs and animals with split hooves. Food: meat, potatoes, barley, beets, spinach, medlars, onions, quinces, flour and starchy food in general. Herbs and aromatics: indian hemp, comfreys, centaureas, hemlocks, henbanes. Flowers and plants: ivies, wild pansies, amaranths, pansies. Trees: pines, willows, flowering ashes, aspens, poplars, alders. Stones, Metals and Salts: turquoises, amethysts, silver, lead, calcium phosphate, calcium fluorine.
Signs: Aquarius
3rd Air sign - 4th Fixed sign - Masculine
In analogy with Uranus his ruler, with Saturn, and the 11th House
Aquarius governs the ankles and the legs.
His colour is navy blue or indigo, his stone is the sapphire, his day is Saturday, his professions are astrologer, high technologies, scientist, astronaut, psychiatrist, actor, electrician...
If your sign is Aquarius or your Ascendant is Aquarius: you are idealistic, altruistic, detached, independent, original, surprising, gifted, contradictory, innovative, humanistic, likeable, friendly, self-confident, impassive, quiet, intuitive, creative, charitable, elusive, disconcerting, generous, tolerant, paradoxical, and you cannot stand any kind of constraint. But you may also be marginal, resigned, distant, utopian, maladjusted, eccentric and cold.
Some traditional associations with Aquarius: Countries: Russia, Sweden, Poland, Israel, Iran, Abyssinia. Cities: Moscow, Salzburg, Bremen, Hamburg, Saint Petersburg. Animals: long distance big birds such as the albatross. Food: citrus fruits, apples, limes, dried fruits and easily preserved food. Herbs and aromatics: peppers, hot red peppers, star-fruits, and generally herbs that are spicy or with an unusual flavour. Flowers and plants: orchids, dancing ladies, polygonatum. Trees: fruit trees. Stones, Metals and Salts: aquamarines, aluminium, sodium chloride and magnesium phosphate.
Signs: Pisces
3rd Water sign - 4th Mutable sign - Feminine
In analogy with Neptune her ruler with Jupiter, and the 12th House
Pisces governs the feet and the blood circulation.
Her colour is green or purple or turquoise blue, her stone is the amethyst, her day is Thursday, her professions are seamanship and and faraway travels, musician, social and emergency worker, doctor, writer and jobs in remote places...
If your sign is Pisces or your Ascendant is Pisces: you are emotional, sensitive, dedicated, adaptable, nice, wild, compassionate, romantic, imaginative, flexible, opportunist, intuitive, impossible to categorized, irrational, seductive, placid, secretive, introverted, pleasant, artistic, and charming. But you may also be indecisive, moody, confused, wavering, lazy, scatterbrained, vulnerable, unpredictable and gullible.
Some traditional associations with Pisces: Countries: Portugal, Scandinavia, small Mediterranean islands, Gobi desert, Sahara. Cities: Jerusalem, Warsaw, Alexandria, Seville, Santiago de Compostela. Animals: fishes, aquatic mammals and all animals living in the water. Food: melons, cucumbers, lettuces, vegemite sugar, pumpkins. Herbs and aromatics: lemon, chicory, limes, mosses. Flowers and plants: water lilies, willows, aquatic plants. Trees: fig-trees, willows, aquatic trees. Stones, Metals and Salts: heliotropes, moonstone, platinum, tin, iron phosphate and potassium sulphate.
Sun 11�43' Pisces
Sun Aspects
Sun opposite Moon orb -8�21'
Sun quintile Uranus orb +0�12'
Sun square Pluto orb +6�58'
Sun trine Neptune orb -8�31'
Planets: Sun
The Sun represents vitality, individuality, will-power and creative energy and honours. For a woman, it also represents her father, and later her husband. The Sun is one of the most important symbols in the birth chart, as much as the Ascendant, then the Moon (a bit less for a man), the ruler of the Ascendant and the fast-moving planets.
It's element is fire; it is hot and dry, it governs Leo, is in exaltation in Aries and is in analogy with the heart. It represents the boss, authority, beside the father and the husband ; the age of the Sun goes from 20 years old to about 40, following the Venus age when one is aware of his seductive power.
Temperament : Bilious
Characterology : Emotive, Active, Secondary, passionate type.
Sun in Pisces
Your deep intuition and your extreme sensitivity allow you to perceive naturally what others understand through analysis. You do not follow the norms in use, societal or educational models and you prefer to create a moral for yourself. A feeling of isolation may come from your ability to live emotions that are unknown to your entourage. This strong impressionability endows you with a sixth sense and acute feelings. In some circumstances, distance and detachment are needed in order not to get bogged down in the necessities of the moment, in useless transient struggles and in barren conflicts. Pisces work wonders. Your strength: a sharp intuition of underlying stakes, a sensitivity that turns �the spirit of the times� into a real compass. All activities requiring stepping back are suitable for you. Before anyone else, you pick up the dangers of an adventure, the risks of defeats or of suspension� with your clear-sightedness more than due to pessimism. Therefore, you may abandon an objective that is not yet obsolete. It is important that you protect yourself against unnecessary disenchantments. Pisces hide a perceptiveness that many claim to possess. But your low-key advices are formulated in a peculiar language. The person who can understand your dazzling intuitions is very lucky.
Sun Dominant
If the Sun is part of your natal chart's planetary dominants, in astrology, you are said to be a Solarian: you loathe pettiness and Machiavellian manoeuvre, and you are fond of natural nobleness as well as of direct and honest attitudes. You endeavour to get out of muddled or dark situations as quickly as possible. Your need for transparency may lead you to make cut-and-dried judgments such as yes or no, and black or white. However, your honesty commands your entourage's consideration. At times, you come across as authoritarian. It is true that you never want to be thought of the notable absentee, and that you manage to make people pay attention to you, as well as to your plans and your assessments. To this end, the Solarian sometimes develops a great talent for placing himself under the spotlight without missing a single opportunity to arouse interest. Some other Solarians, although more discreet, still manage to be the focus of any debate, even in situations of exclusion. It is your way of being present even though you are actually not there... More than other people, you appreciate the esteem extended to you. It is useless to cheat with you, since in all areas you consider establishing enduring relationships only with those who love you, admire you, respect you, or express some degree of affection to you. Your will to straighten out your inter-personal relationships is your strength and sometimes, your Achilles' heel. You cannot achieve anything behind the scenes. Therefore, your comportment is marked with heroism, and your stands are devoid of ambiguity, in the sense that your commitments are unfailing, and your rebuffs, final.
Interpretation of the 11� Pisces symbolic degree
"A young man in a nice suit stands between two cones and fiddles with his wristwatch. One of the cones is intact, and the other one has its top cut off." ( Janduz version)
Indecisive, anxious, and ambitious character. If one is born in a wealthy family, after a reversal of fortune, one strives to recover one's social status. If one has modest origins, one is capable to rise to an important position and to achieve some degree of fame. In both cases, one must not aim at the top since this degree indicates limitations, and any attempt to reach the summit results in accidents or health conditions.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Moon 20�04' Virgo
Moon Aspects
Moon square Pluto orb +1�23'
Sun opposite Moon orb -8�21'
Moon bi-quintile Saturn orb +1�07'
Moon inconjunction Mercury orb +2�32'
Planets: Moon
The Moon represents instinctive reaction, unconscious predestination, everyday mood, sensitivity, emotions, the feminine side of the personality, intuition, imagination. For a man, she represents his mother and later his wife, and his relationship with women in general. For a woman, the Moon is almost as important as the Sun and the Ascendant. Her element is water, she is cold and moist, she rules Cancer, is in exaltation in Taurus and is in analogy with the stomach.
She symbolizes the mother, wife, the crowd, the Moon is associated with birth and childhood. Tradition also matches her with the end of life, after Saturn the old age, it is thus customary to go back to one's place of birth to die: the end of life meets the very beginning.
Temperament : Lymphatic
Characterology : Emotive, non Active and Primary type or Non-Emotive, non Active and Primary, Nervous or Amorphous type.
Moon in Virgo
On the day and at the time of your birth, the Moon was in the sign of Virgo. You have a strong need for security and your constant concern is to keep your intimate environment under control. You treasure and you protect all the things that make you feel comfortable. You have no exaggerated ambitions, no grandiose and boundless dreams. You only strive to organize all the elements of your everyday life, to find a place for each thing and to improve yourself. You can relax only if your habits are not disturbed by external events. You are selective in your intimate sphere and with your attachments, you are perfectly organized and in line with the self-set rules you establish as time goes by. For you, life is a puzzle composed of human pieces, a chessboard where you move according to an obvious logic. Daily landmarks and well-known items are important to you. You have the soul of a collector.
Moon Dominant
If the Moon is part of your natal chart's planetary dominants, in astrology, you are said to be a Lunarian: the driving force behind your actions is mainly the pursuit of well-being and tranquillity. Your sensitive and romantic self lives on those periods of rest during which you let your imagination wander at will. This is your way of finding inspiration and balance. Nothing is allowed to disturb your feeling of fulfilment and security within a harmonious cell, be it a family or a clan. More than other people, the Lunarian is attached to those moments during which one forgets one's worries and lets oneself cast adrift aimlessly, with no other goal than to be lulled into an ambiance, a situation, or a perfect moment. Many people do not understand such absences and their meaning, which is to regain strength. These people readily describe you with such unflattering terms as apathy and nonchalance. Never mind! Some inspirations require surrendering as well as striking a balance derived from alternate action and passivity. Your qualities are expressed to the fullest in situations which demand familiarity and privacy. Your capacities to respect and blend into your environment is at least as valuable as some other people's aggressive dispositions. However, you are well-advised to avoid indolence and renunciation out of laziness or indifference.
Interpretation of the 20� Virgo symbolic degree
"A food wholesaler holds a heavy bag of money in one hand and silver coins in the other." ( Janduz version)
Petty, stingy, and mercenary character. One is interested in financial profits and strives relentlessly to increase one's wealth, considering every penny spent, including those meant to meet basic daily needs such as meals and clothes. Speculations in food and raw materials are very lucrative.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Mercury 22�37' Aquarius
Mercury Aspects
Mercury conjunction Saturn orb +7�24'
Mercury trine Pluto orb -3�55'
Moon inconjunction Mercury orb +2�32'
Planets: Mercury
Mercury represents communication, logical and rational mind, intellectual skills. Earth is its element, it is cold and dry, and it rules Virgo and Gemini, is in exaltation in Virgo and is in analogy with the arms, hands, nervous system.
It represents tradesmen, lawyers, messengers; the age of Mercury goes from 8 or10 years old to about 15..
Temperament : Nervous
Characterology : Emotive, non Active and Primary type or Non-Emotive, Active and Primary, Nervous or Sanguine type.
Mercury in Aquarius
Mercury describes your relations, your communication skills and the way you relate to the external world. However, other astrological elements also influence these areas. The sign Mercury occupies is significant only if Mercury is part of your planetary dominantes. In your chart, Mercury is in Aquarius. Everything with a human tint catches your attention. You are sensitive to the specificities and the uniqueness of each individual and you feel you learn a lot whenever you meet with an open-minded and curious person. You do not get along well with stay-at-home and conservative people. As each relationship is constantly evolving, with time, it can, and it must, grow and offer surprises and potentials. On the human plane, you are very idealistic � sometimes even utopian � readily trusting and valuing persons who may not always be worth it. This is the drawback inherent to your highly commendable open-mindedness and your tolerance. Your ideas are original and liberal. In your communication, you display consideration and leniency and you acknowledge your interlocutor�s differences. However, your understanding is not unconditional and you detach yourself from disappointing people whose values are incompatible with yours. To each, his own!
Mercury Dominant
If Mercury is part of your natal chart's planetary dominants, in astrology, you are said to be a Mercurian: the tradition points out the importance of communication. From idle but enriching chatters to observation gift, such a dominant endows you with a wide range of expression. Human beings have one thousand facets and one thousand masks they wear according to circumstances and the fortunes of the game of life. You take the role of an observer who is avid for novelties, discoveries, and surprises. Everything catches your attention and becomes an opportunity for new encounters, relationships, and learning. The world amazes you, amuses you sometimes, and stimulates your curiosity. Because the most important thing is to discover, and because you consider that each new situation is packed with potentialities, you try to fill the gaps in your knowledge. Although your open-mindedness may scatter your centres of interest, it also enables you to carefully avoid sticking to only one immutable and rigid view. The slightest sign enables you to perceive the other side of the coin, as well as the infinite complexity of people and of situations. On the human plane, you seek the dialogue and the information without which you know that you are not able to fully grasp the nature of your interlocutor. This keen interest in the Unknown sharpens your inter-relational skills. All these qualities are traditionally associated with Mercury.
Interpretation of the 22� Aquarius symbolic degree
"A team of dogs pulls a carriage loaded with bottles of milk. By the river, a family of beavers build a dam." ( Janduz version)
Hard-working, careful, and discerning character. Teamwork is more profitable than solitary work, and mutual aid is a major asset. Despite many rivalries, success can be achieved in all occupations in the wood and construction industry, or in architecture. This degree warns against floods and fire. Before building anything, the nature of the soil must be carefully assessed by professionals.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Venus 9�15' Aquarius
Venus Aspects
Venus conjunction Saturn orb +5�57'
Venus bi-quintile Neptune orb -0�04'
Venus sextile Mars orb -5�43'
Planets: Venus
Venus represents the way one loves, relationships, sharing, affectivity, seductive ability. For men, she also corresponds to the kind of woman he's attracted to (but not especially in marriage which is more symbolized by the Moon, Venus is the lover and not the wife). Her element is the Air, she is moist, rules Taurus and Libra, is in exaltation in Pisces and is in analogy with the kidneys, the venous system, the bladder, the neck.
She represents the artists, tradesmen, occupations linked to beauty and charm; the age of Venus goes from 15 to about 25 years old.
Temperament : Sanguine and Lymphatic
Characterology : Emotive, non Active and Primary type or Emotive, non Active and Secondary type.
Venus in Aquarius
Venus describes your affective life. On the day of your birth, she is found in Aquarius. Your affectivity is expressed in an original form. You are sensitive to human matters and, at the same time, your need for independence prompts you to transform and to reinvent your sentimental life. In love, your attitude may surprise and disconcert your partner. But your capacity to amaze is also part of your charm. The ideal couple� All couples! For you, love can be but ideal, pure, elevated to the rank of a conniving, friendly and angelic relationship� You do not dream of a prodigious union based on a natural, cerebral, affective or sexual harmony. Therefore, you are an idealist. It is fine, but are you able to forgive the shortcomings that are inherent to all relationships? You possibly can, if you close your eyes and dream� Intransigence harms your affectivity. You need to admire your beloved one and to feel that you are close to each other, at the same time friends and lovers, and that you form a whole. You often forgive, until the day you open your eyes on your partner�s flaws � but who has none? You do not accept imperfections in your couple and delusions that are part of lasting loves. You have to face it: an angel cannot be angelic each and every moment!
Venus Dominant
If Venus is part of your natal chart's planetary dominants, in astrology, you are said to be a Venusian: you are a sensual and emotional person particularly receptive to the natural likes and dislikes aroused by your contact with people. You are prone to frequent instinctive aversions and true passions which are exclusively driven by the feeling of love. The heart has its reasons which Reason knows nothing of... Your balance is based on the richness of your affective life. Without love, the Venusian is resourceless, lost, and deprived of any reason for living. You have an obvious and strong will to charm and to arouse the attachments without which you cannot properly function. Every area of your life is thus marked by your affectivity. The danger is that you may "be taken in" by charm. In such cases, you would prefer to keep your emotions under better control. Thus, hyper-sensitivity has its own inconveniences. Nevertheless, better than anyone else, you know how to play with feelings and attractions. Although you are sometimes caught in the traps of an over sensitive emotionalism, feelings remain your best assets in many circumstances. There is another aspect to the Venusian dominant. According to the Tradition, this planet rules the Arts, and you are endowed with some degree of artistic dispositions, ranging from good to excellent.
Interpretation of the 9� Aquarius symbolic degree
"A man walks normally although his head and one of his hands seem separated from his body." ( Janduz version)
Immature and irresponsible character. A sudden separation from the parents during childhood is probably at the root of psychomotor and coordination problems, as well as of difficulties in taking charge of one's life properly. The presence of a devoted partner is necessary.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Mars 3�31' Aries
Mars Aspects
Mars conjunction Jupiter orb +3�08'
Mars square Neptune orb -0�20'
Mars square Uranus orb +4�01'
Venus sextile Mars orb -5�43'
Planets: Mars
Mars represents the desire for action and physical energy, sexuality, strength. For a woman, Mars corresponds to the kind of man she's attracted to (but not especially in marriage which is rather symbolized by the Sun, Mars is the lover, not the husband). Fire is its element, it is hot and dry, and it rules Aries and Scorpio (along with Pluto), is in exaltation with Capricorn and is in analogy with the muscles and the spleen.
It represents the soldiers, sportsmen, warriors, surgeons, blacksmiths... ; the age of Mars goes from 42 to 50 years old.
Temperament : Bilious
Characterology : Emotive, Active, Primary type. It is a Choleric.
Mars in Aries
The planet Mars indicates how you react to life concrete stimulations. It also describes your fighting spirit, your abilities to stand for yourself and to take action. With Mars in Aries, boldness and energy bring about successes and setbacks. Success in all enterprises requiring swift reactions and decisions, quick-mindedness. Setbacks in your relationships when emotionalism is stronger than reason. You react promptly when you face adversity. You need to live intensely and to take action in the here and the now, �on the spot�. Your offensive mind works wonders when the context requires fighting spirit. The danger is that your hasty actions may harm your long-terms interests. This configuration is double-edged, indeed�
Mars Dominant
If Mars is part of your natal chart's planetary dominants, in astrology, you are said to be a Marsian: in your hand-to-hand struggle for life, you demonstrate an acute and active sense of confrontation with the world, with other people, and with your own destiny. You need to take action and to fight for your projects and your desires. You perceive all situations with deep intensity, and you react to the here and now without bothering to step back in order to ensure that events are under your control. You take up challenges with excessive foolhardiness as a consequence of your impulsiveness. However, better than anyone else, you know how to mobilise your resources in case of crisis. You take action whenever it is necessary to do so, and you are present in a timely manner. With Mars, your attitudes are dictated by the realities of the moment, by your emotions, and by everything which proved to have worked in the past. When this dominant is not well integrated, it may bring about an aggressive or impulsive behaviour. Therefore, you must learn to control your hyper-sensitivity and your fits of temper. You are also endowed with Marsian qualities: the fighting spirit and the taste for duel without which one may find oneself overwhelmed by events. When this willpower is well channelled, its precious energy enables to cope with all sorts of contingencies. There are a thousand ways to win, and a thousand challenges to take up with the enthusiasm and the dynamism which make life so worthy. A certain idea of life which is wild, passionate, and in tune with events.
Interpretation of the 3� Aries symbolic degree
"A man takes a walk in a forest where many plants of various species grow. Another man with shaggy hair hides behind the shrubs." ( Janduz version)
Pragmatic, modest, and unsophisticated character. In spite of a great natural wisdom, one has no inclination for studies. One is driven by the sense of honour and by genuine generosity. The man hidden in the shrubs is not necessarily ill-intentioned. He may just be an original and independent person who prefers to remain out of the mainstream. In this lifetime, one can expect at least one major encounter which brings about crucial events, the positive or negative outcomes of which depend on the natal chart. All occupations related to security such as the police, the military, or the law are highly favoured. If in the natal chart, Mars is on this degree and forms hard aspects with the Sun and the Moon, he may portend a violent death.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Jupiter 0�22' Aries
Jupiter Aspects
Mars conjunction Jupiter orb +3�08'
Jupiter square Uranus orb +0�52'
Jupiter square Neptune orb +2�48'
Jupiter semi-square Saturn orb +0�10'
Planets: Jupiter
Jupiter represents expansion and power, benevolence, large vision and generosity. Its element is Air, it is hot and moist, and it rules Sagittarius and Pisces (along with Neptune), is in exaltation with Cancer and is in analogy with the hips and endocrinal system.
It represents the governors, magistrates, professors, religious men too; the age of Jupiter goes from 50 to 55 or even 70 years old.
Temperament : Sanguine
Characterology : Emotive, Active, Primary type; it is an extrovert Choleric. Actually the humid version of Mars, inclined to action like him.
Jupiter in Aries
The planet Jupiter symbolizes expansion, broadness and generosity. Jupiter is associated with the functions of synthesis, enthusiasm and optimism. In your natal chart, his house position is more important than his sign position because, like Saturn, Uranus, Neptune and Pluto, he is a slow planet. Many people born in the same period have Jupiter in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. Jupiter in Aries amplifies your tendency to charge ahead and your self-assertiveness. Your have leadership qualities, you are optimistic and you can mix the boldness with the will to succeed that are specific to Aries. Management ability, leadership and independence: your enthusiasm is a real asset for your life and for your charm!
Jupiter Dominant
If Jupiter is part of your natal chart's planetary dominants, in astrology, you are said to be a Jupiterian: because this planet brings about a keen interest in social and professional success, the Tradition considers it to be beneficial. Indeed, you know how to adjust to events and to jump at the chance when it arises. The members of you entourage gladly entrust you with high responsibilities because they are often impressed by your learning skills and your adaptation abilities as you deal with new structures and new languages. What is the secret of your good star? It is your self-confidence which wins public support. Now, what is the secret of your charm? Definitely, enthusiasm, euphoria, and exaltation. Exaggeration also. When this dominant is well integrated, it is a factor of affluence and optimism, and a certain degree of joviality enables you to easily fit into various spheres. It constitutes your main asset to manage your life. However, you must at times curb your desire for integration, lest your sense of opportunity turns into extreme opportunism. Here also, the key to success lies in a correct estimate of everyone's chances and possibilities. Although management is one of your forte, and you can adjust your objectives to current realities better than other people, you lack the hindsight which enables you to avoid short-term vagaries and daily fluctuations. If you strive too much to adapt, you run a risk of betraying yourself. This is the other traditional side of the coin with "The Greater Benefic"!
Interpretation of the 0� Aries symbolic degree
"A sturdy man wearing coarse animal skins or fabrics stands firmly on the ground with a cudgel in his hand. He seems prepared to respond to any danger." ( Janduz version)
Aggressive, tough, and passionate character well-equipped for facing life struggles. One is able to use physical strength as well as intellectual weapons, according to one's social background. One is mainly interested in life's materialistic aspects and protects efficiently one's rights and assets. Nevertheless, there is a potential danger of loss and/or lawsuit related to inheritance matters. One must be careful not to let temptations, whether sex, gambling, or any other passion, prevail over one's major goals. Indeed, this degree is associated with Hercules, a man who can achieve amazing feats, but who can also fall into the traps of seduction.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Saturn 15�12' Aquarius
Saturn Aspects
Venus conjunction Saturn orb +5�57'
Mercury conjunction Saturn orb +7�24'
Saturn trine Pluto orb +3�28'
Jupiter semi-square Saturn orb +0�10'
Saturn semi-square Uranus orb +0�42'
Moon bi-quintile Saturn orb +1�07'
Planets: Saturn
Saturn represents concentration, effort, perseverance, time, the hard reality, inevitable consequences. Earth is its element, it is cold and dry, and it rules Capricorn and Aquarius (along with Uranus), is in exaltation in Libra and is in analogy with the bones (skeleton) and the skin.
It represents the grandparents, old people, scientists, knowledgeable men, Saturn corresponds to old age; it goes from 70 years old until death.
Temperament : Nervous
Characterology : Non-Emotive, Active and Secondary type or Emotive, non Active and Secondary type or sometimes Non-Emotive, non Active and Secondary type; it is a Phlegmatic, a Sentimental or an Empathic type
Saturn in Aquarius
The planet Saturn symbolizes contraction, effort, time, limitation and concentration. Saturn eliminates anything that is not authentic, sooner or later. It is impossible to cheat him as he gives an irresistible desire to form a coherent whole with oneself, in responsible and wise ways. He is the great purifier. He represents our limitations but also our truth. In your natal chart, the house position where Saturn is posited is more important than his sign position because, like Jupiter, Uranus, Neptune and Pluto, he is a slow planet. Many people born in the same period have Saturn in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. Saturn in Aquarius endows you with the capacity to deliver in collective areas, humanitarian causes or avant-gardist projects. Your sensitivity is withdrawn but it is offset by your ability to handle human relationships in a daring and efficient way, which allows you to achieve your goals for the sake of a cause.
Saturn Dominant
If Saturn is part of your natal chart's planetary dominants, in astrology, you are said to be a Saturnian: you gladly leave to other people the decision to take life as it comes. As far as you are concerned, you prefer to take advantage of your experiences in order to discover, to grow, and to question yourself.
Interpretation of the 15� Aquarius symbolic degree
"A boat sets sail at full speed towards the sun rising at the horizon while on the shore, two men riding a unicorn and a sea dragon are watching." ( Janduz version)
Ambitious, enterprising, and nice character. Success, fame, and wealth can be achieved in the exploration of unknown territories and all kinds of journeys. One must be very careful in the selection of business partners because there is a danger of being taken advantage of, particularly by people who do not belong to the same social circle. This degree warns against possible swindles and violent death, whether one is the perpetrator or the victim.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Uranus 29�30' Sagittarius
Uranus Aspects
Jupiter square Uranus orb +0�52'
Uranus opposite Neptune orb -3�40'
Mars square Uranus orb +4�01'
Sun quintile Uranus orb +0�12'
Saturn semi-square Uranus orb +0�42'
Planets: Uranus
Uranus represents individual freedom, originality, independence, marginality, avant guard inspiration, ultra modernism. Fire is its element, it is dry, and it rules Aquarius, is in exaltation with Scorpio and is in analogy with the brain and the nerves.
It represents inventors, odd characters, revolutionaries.
Temperament : Nervous to the extreme
Characterology : Emotive, Active, Secondary type; it is a Passionate type.
Uranus in Sagittarius
The planet Uranus symbolizes originality, independence and cerebral energy bursting suddenly. Uranus triggers the irresistible need for freedom that we have in ourselves. Uranus tends to break the constraints that have become unbearable and gives us the courage and the will to get rid of what has become a burden; when he is well aspected, he also indicates genius.In your natal chart, Uranus� house position is more important than his sign position because, like Jupiter, Saturn, Neptune and Pluto, he is a slow planet. Many people born in the same period have Uranus in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. The sign positions of Uranus, Neptune and Pluto have a collective meaning. They do not influence your personality, unless they are involved in numerous aspects or when they emphasize a personal point of your natal chart such as your Ascendant�s ruler, an angular planet, i.e. a planet near the Ascendant, the Midheaven, the Nadir or the Descendant. In such cases, the activity of the slow planet is very highlighted. Uranus in Sagittarius gives you the taste for feats and extraordinary adventures: as you are caught in the desire to discover, at any cost, you may become a hero, a conqueror, an explorer or, on the symbolic plane, a pioneer in such matters as philosophy, politics, economy or spirituality.
Uranus Dominant
If Uranus is part of your natal chart's planetary dominants, in astrology, you are said to be a Uranian: personal values are prevailing. Inner certainties fuel an inflexible will and a desire to call attention on yourself as well as to follow your beliefs through. This planet prompts you to behave with determination, to put forward your own truth, and to start your personal revolution. More than other people, you are willing to keep some degree of autonomy in all circumstances, and you often display an individualistic nature. In order to achieve your ideal of freedom and independence, you may act like a despot as you try to convince and to impose your views, whether smoothly or forcefully. Regardless of the flexibility of your comportment, some situations demand an absolute firmness as well as uncompromising, frank and straightforward attitudes. People may criticise you for your intransigence and say that you are a hardliner. Outsider's opinions don't matter! The most important thing is that you act in all conscience and reach your primary objectives. More than anyone else, you know how to use your willpower and to focus your energy on a precise aim, relentlessly, whatever the consequences might be. In the chapter of qualities, let's mention a definite sense of responsibility, an innovative mind open to techniques and modern ideas, as well as a natural self-discipline which overcomes many an obstacle. Therefore, people are well-advised not to hound you into a corner.
Interpretation of the 29� Sagittarius symbolic degree
"In his forge, a blacksmith works on an anvil. Nearby, a spade is planted in the ground." ( Janduz version)
Secretive, intuitive, and independent character. One relies exclusively on one's great intellectual capacities and broad knowledge. The path chosen probably includes hardships and requires sustained efforts, time, and concentration. Success and wealth can be achieved in the iron and steel industry, the research of new alloys, or in archaeology.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Neptune 3�11' Я Cancer
Neptune Aspects
Mars square Neptune orb -0�20'
Uranus opposite Neptune orb -3�40'
Jupiter square Neptune orb +2�48'
Venus bi-quintile Neptune orb -0�04'
Sun trine Neptune orb -8�31'
Planets: Neptune
Neptune represents escapism, impressionability, daydreaming, delusions, carelessness, deception or intuition, dishonesty or inspiration, telepathy. Water is its element, it is moist, it rules Pisces, is in exaltation in Cancer, though some authors say it is Leo, and is in analogy with the vegetative system.
It represents dreamers, mediums, magicians, merchants of illusion, drug addicts.
Temperament : rather Lymphatic
Characterology : Emotive, non Active, Primary or Secondary type; it is a Sentimental, or sometimes Amorphous type.
Neptune in Cancer
The planet Neptune symbolizes extreme receptivity, intense emotional sharpness, impressionability and inspiration; it is the planet of mediums, mystics and religious faith. In an astrological chart, it indicates dilution, vagueness, understanding one�s environment through emotions and the absence of clear and determined limits and structures. In your natal chart, Neptune�s house position is more important than his sign position because, like Jupiter, Saturn, Uranus and Pluto, he is a slow planet. Many people born in the same period have Neptune in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. The sign positions of Uranus, Neptune and Pluto have a collective meaning. They do not influence your personality, unless they are involved in numerous aspects or when they emphasize a personal point of your natal chart such as your Ascendant�s ruler, an angular planet, i.e. a planet near the Ascendant, the Midheaven, the Nadir or the Descendant. In such cases, the activity of the slow planet is very highlighted. Neptune in Cancer increases tenfold your emotionalism and your natural nostalgia. Your musings are huge and fruitful. You are inspired and supported by your feelings. Your inner life is splendid.
Neptune Dominant
If Neptune is part of your natal chart's planetary dominants, in astrology, you are said to be a Neptunian: your intuition is highly developed. You are of a contemplative nature, and you are particularly receptive to ambiances, places, and people. You gladly cultivate the art of letting-go, and you allow the natural unfolding of events to construct your world. You follow your inspirations, for better or for worse. At times, you display an extraordinary clairvoyance gift. You seem to be able to read your subconscious like a book, and you track down subtle underlying mechanisms, flaws, or open breaches. This innate intuition might explain the strokes of good luck which the Neptunian is sometimes credited with. However, you may also be the victim of illusions and misleading intuitions. You are an idealist, and you let your deepest aspirations prevail over the realities of the moment. Then, you set off in quest of some quixotic objective, living like a Don Quixote who relentlessly pursues an impossible dream. You have a great talent for psychology and the mysteries of the human soul. Since you instinctively perceive people's intents and motivations, as you swim in the complexity of human nature, you feel in your element. The subtlety of your perceptiveness is the source of both special affections and irrevocable rejections. What is the danger of such a dominant? If it is not offset by other influences in your natal chart, you may not have an iron will. Your trump card is your instinct, which may be developed to the extent that it becomes clairvoyance.
Interpretation of the 3� Cancer symbolic degree
"After dinner, leftovers are still on the table, violins are put aside, and guests flirt." ( Janduz version)
Materialistic, sensual, and generous character. One is attracted to the beauties and dangers of life. Passionate impulses, probably an adulterous relationship, may disrupt marital ties. This degree favours the career and indicates that one reaches a powerful position, provided that one keeps sensual instincts under control.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Pluto 18�41' Я Gemini
Pluto Aspects
Moon square Pluto orb +1�23'
Saturn trine Pluto orb +3�28'
Mercury trine Pluto orb -3�55'
Sun square Pluto orb +6�58'
Planets: Pluto
Pluto represents deep transformations, mutations and eliminations, sexuality and magnetism, power and secrets, destruction with a view to regeneration, the phoenix rising from the ashes. Its element is indefinite; burning (like lava in fusion ?), it rules Scorpio, is in exaltation in Pisces and is in analogy with the sexual organs and excretion.
It represents dictators, sadistic people, violent characters, is instinctive and powerful but also mysterious with hidden strengths.
Temperament : rather Bilious
Characterology : Emotive or non-Emotive, Active, Primary type; it is a Passionate Choleri typec.
Pluto in Gemini
The planet Pluto symbolizes deep disruptions and upheavals, domination and sexual instincts, and the inner power we have in ourselves. Pluto destroys in order to reconstruct and he provokes painful crises that are needed in metamorphosis. Pluto is our deepest instincts� brutal force. It is the hidden and unconscious violence that can explode in us with incredible intensity before being projected in our actions; in itself, the planet is not negative: the might and the intensity of its energy are beyond the conceivable but it can be funnelled. Pluto is the only possibility we have at our disposal to overcome our inner blocks and to eliminate outgrown situations that have become inextricable. Pluto�s energy is valuable because of its usefulness for the irreversible destruction of what constitutes a problem and not because of its negative side and its perversity. Pluto allows to reconstruct and to regenerate parts of our personality or whole stretches of our life, provided that we manage to funnel his wild energy and to step back. It is impossible to tame this energy, given its essence. However, it is possible to take advantage of it for a precise aim, through a temporary identification of some parts of us with this energy. In such a case, the outcome is our final evolution and even, our transformation. In your natal chart, Pluto�s house position is more important than his sign position because, like Jupiter, Saturn, Uranus and Neptune, Pluto is a slow planet. Many people born in the same period have Pluto in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. The sign positions of Uranus, Neptune and Pluto have a collective meaning. They do not influence your personality and they are not to be really taken into account, unless they are involved in numerous aspects or when they emphasize a personal point of your natal chart such as your Ascendant�s ruler, an angular planet, i.e. a planet near the Ascendant, the Midheaven, the Nadir or the Descendant. In such cases, the activity of the slow planet is very highlighted. Pluto in Gemini may give your communication a caustic and domineering style.
Pluto Dominant
If Pluto is part of your natal chart's planetary dominants, in astrology, you are said to be a Plutonian: you sometimes feel like a foreigner who does not belong to the world, to its laws, and its concerns. The rules of life in society are not necessarily yours. You are interested in what is unknown and in the subtle laws of a hidden order. So, you take malicious pleasure in ridiculing the patterns you find too simplistic or too rigid. You also revel in underlining the limits of explanations you deem too common. There is something unconventional about the way you are, the way you think, and the way you act. What is your specificity made of? Is it an extraordinary partner? A life off the beaten path? Or do you only distance yourself from conventional morals? In any case, you have the feeling, sometimes quite vague, that you come from nowhere, and that you do not belong to any definite group... In short, it means that you cannot be simplified in order to conform to existing models. The gap between you and ordinary mortals is also an element of your strength. Your deep clear-sightedness, firstly, enables you to put things into perspective and to grant them only the attention they deserve. Your other remarkable asset is your capacity to intervene from behind the scenes, to secretly organise events, and to bring about the desirable outcome without seeming to impose or to dictate anything. However, you must still overcome one of the major difficulties of this dominant, which is to get people to accept your difference and to smoothly fit into your environment.
Interpretation of the 18� Gemini symbolic degree
"A wretched man courageously leaves his beautiful mansion behind him. His wife, in a lavish dress, follows him with deep regret and looks back at their former abode." ( Janduz version)
Unless the natal chart strongly indicates otherwise, this degree heralds that years of prosperity are followed by ruin and destitution.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
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Asteroids: Chiron
Chiron is almost renowned and used everywhere. Most astrologers consider it as a kind of "mediator" between Saturn and outer planets. Consequently, Chiron is of Saturn's nature and at the same time is influenced by Uranus, the first slow-moving planet. Astrologically, it symbolizes wisdom, patience and the faculty to reduce others' sufferings: it is said to be the "great healer" of the zodiac. Like all the secondary bodies, it must be in close conjunction with planets or angles in order to fully express its action.
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Asteroids: Ceres
Ceres, the biggest of the four minor asteroids used besides Chiron, is associated with the mythological goddess of growing plants and harvest and also symbolizes physical constitution, vitality and fertility. She's also known as Demeter, according to the astrologer Zipporah Dobyns, linked to the symbolism of the mother but in a less emotive and more physical way than the Moon. Ceres is thought to be the ruler of Virgo, in exaltation in Gemini, in exile in Pisces and in fall in Sagittarius. Keywords associated with Ceres could be order, practical sense, worry, precision, modesty, method, sobriety, motherhood, fertility, the Earth: a kind of a more cerebral Moon...
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Asteroids: Pallas
Pallas is sometimes used in modern Astrology: she represents intelligence, abstract and global thinking talents. It is usually considered to be a determining element in political strategy.
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Asteroids: Juno
Juno is the asteroid corresponding to the adaptation to the marital partner and to the defence of individual rights; it is thus used in the field of marriage.
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Vesta is rarely used and brings the ability to efficiently devote oneself to a cause.
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True North Node 27�29' Я Virgo
North Node
The North Node (True Node here) represents the goals that must be achieved during life, in the karmic sense according to some traditions. Its position in house indicates in what field an effort is necessary in order to evolve. The North Node is often called the Dragon's head, it is usually considered beneficial, a bit like Jupiter with the planets. The Lunar nodes are fictional points and not actual heavenly bodies: they are the intersections of the Moon with the Ecliptic (the path made by the Sun in its orbit as seen from the Earth). The axis of the Lunar nodes moves 19 degrees each year, namely a bit more than three minutes each day.
The South Node is diametrically opposed to the North Node, therefore it faces it (it's not drawn here, it's the same symbol but upside down). It symbolizes what has already been achieved or acquired, in a karmic sense: it's the past from which it's advised to move on in order to progress. The South Node is rather negative, of a Saturnian nature: the experience through suffering.
Interpretation of the 27� Virgo symbolic degree
"Behind an orange tree loaded with beautiful fruits, a nice lawn with many birds is surrounded by rosebushes." ( Janduz version)
Generous, hardworking, and organised character endowed with sharp intelligence. Family ties and friends are very important. Much attention is paid not only to the family's comfort, but also to other people's needs. Success is achieved thanks to one's personal qualities. Everything needed for one's happiness and peace of mind is readily available. This degree indicates that, if one belongs to a rich family, one knows how to properly use one's wealth without squandering it. If one is of modest origins, one improves one's social status and becomes wealthy.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
True Lilith 0�07' Я Pisces
Lilith
Lilith or the Dark Moon (True Lilith here) represents the uncrossable threshold, taboos, the individual's provocative and fascinating side, including on a sexual level. She symbolizes violence and "untameability", the radical and deep-seated refusal to submit. The keywords for Lilith can be sterility, sadism, perversity, castration, sadomasochism, eroticism, orgasm, forbidden fantasies, marginality, cruelty; redemption, illumination, rebelliousness... Lilith's opposite point is called Priapus; it is the Lunar perigee, the position where the Moon is closest to the Earth. It symbolizes man's primitive nature, the horror hidden in our deepest self; masochism, extreme sensuality, impulsiveness, irrationality and excess. Physically speaking, the Dark Moon is the focal point unoccupied by the Earth: it is not a concrete body but a mathematical point.
Interpretation of the 0� Pisces symbolic degree
"A human being, half-male and half-female, stands in front of an office door. Nearby, a young couple is about to take place at a table where a sumptuous meal is served." ( Janduz version)
Pleasant, sociable, and loyal character. One always readily adjusts to the members of one's entourage in order to create harmonious living conditions. This applies particularly to conjugal life. One can achieve success in business or in the arts. Associations are highly favoured because, as symbolised by the first personage of the image, one knows perfectly well how to blend opposite elements and turn them into complementary assets.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
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Part of Fortune
The Part of Fortune is an ancient concept, used by Ptolemy and other astrologers before him. Firstly, it has nothing to do with fortune! In modern astrology, it is actually used to enhance a planet or angle when in close conjunction with it: it thus amplifies the meaning associated to the point affected by its presence. It is calculated in the following way:
Part of Fortune = AS + Moon - Sun (it is the Moons position when the Sun rises)
The classical Part of Fortune, of which the calculus method is unchanged whether in a diurnal or nocturnal chart, is usually distinguished from the diurnal/nocturnal Part of Fortune which is calculated by the formula AS + Sun - Moon for a nocturnal chart, and AS + Moon - Sun in a diurnal chart.
We currently use the latter formula for our astrological programmes.
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Ascendant or House I
The First House or Ascendant represents one's behaviour in the eyes of others, and also one's health. It corresponds to the way the individual acts in the world. It is the image of the personality seen by others and the person's visible behaviour expressed outwardly. The 1st House is in analogy with Aries and thus Mars too, and then the Sun. It is an angular house, the most important one with the Midheaven, maybe even more so due to its link with the body and health.
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Midheaven or House X
The Tenth House still called the Midheaven, is the highest point amidst the houses, at the top of the chart, in the South, and relates to destiny in general and career (and not daily work as meant by the Sixth House). The Midheaven represents our achievements and goals in the social sphere, our social position in society, and becomes more and more important as we get older. It is in analogy with Capricorn and Saturn. The Tenth House is the most important angular house along with the Ascendant.
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House I (AC)
The First House or Ascendant represents one's behaviour in the eyes of others and also one's health. It corresponds to the way the individual acts in the world. It is the image of the personality as seen by others and the person's visible behaviour expressed outwardly. The 1st House is in analogy with Aries and thus Mars too and then the Sun. It is an angular house, the most important one with the Midheaven, maybe even more so due to its link with the body and health; the Ascendant is as important as the Sun in a natal chart.
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House II
The Second House is the sphere of material security, the money we earn, our possessions, also in a symbolic meaning (close people etc). It is in analogy with Taurus and Venus. It is a succedent house, quite important.
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House III
The Third House is the sphere of social and intellectual apprenticeship, studies, relationships with close people and surroundings, short trips, light-hearted and quick contacts, correspondences. It is in analogy with Gemini and Mercury. It's a cadent house, less important than the angular and succedent ones.
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House IV (IC)
The Fourth House also called Immum Coeli is the sphere of inner emotions, family, the father, home and roots, but also the home one creates. It's Home Sweet Home, security and cocoon. It is in analogy with Cancer and the Moon. It's an angular and important house.
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House V
The Fifth House is the sphere of pleasures and love affairs (but not commitment or marriage), creations and entertainments, children, arts and game. It is in analogy with Leo and the Sun. It's a succedent and quite important house.
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House VI
The Sixth House is the sphere of apprenticeship and effort in the work environment, daily life, health on a daily basis and not operations or long-term diseases, relationships with co-workers or subordinates, desire for improvement, analysis and detail. It is in analogy with Virgo and Mercury. It is a cadent house, less important than the angular and succedent ones.
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House VII (DS)
The Seventh House also called the Descendant (in front of the Ascendant) is the sphere of partnership, marriage, contracts, relationships with others, the outer world. It is in analogy with Libra and Venus, and Saturn to a lesser extent. It is an angular and important house.
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House VIII
The Eighth House is the sphere of emotional security, the depths of the self, secrets and paranormal, transcendence, sexuality, mysteries, upheavals, surgical operations, others' money (investments, inheritances), crises, transformation after evolution, death. It is in analogy with Scorpio and Pluto, and Mars to a lesser extent. It is a succedent and quite important house.
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House IX
The Ninth House is the sphere of high studies, both physical and mental journeys (philosophy, spirituality), rebelliousness, changes of scenery, desire for dealing with the unknown. It is in analogy with Sagittarius and Jupiter. It is a cadent house, less important than the angular and succedent ones.
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House X (MC)
The Tenth House still called the Midheaven, is the highest point amidst the houses, at the top of the chart, in the South, and relates to destiny in general and career (and not daily work as meant by the Sixth House). The Midheaven represents our achievements and goals in the social sphere, our social position in society, and becomes more and more important as we get older. It is in analogy with Capricorn and Saturn. The Tenth House is the most important angular house along with the Ascendant.
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House XI
The Eleventh House is the sphere of friendship and protection, projects, search for social acceptance and security, collective and humanitarian actions. It is in analogy with Aquarius and Uranus, and Saturn to a lesser extent. It's a succedent and quite important house.
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House XII
The Twelfth House is the sphere of hidden things, enemies, closed or remote places (hospital, prison, convent etc.), ordeals, secrecy, solitude, long-term illnesses but also sincere devotion and genuine compassion. It is in analogy with Pisces and Neptune.
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The Vertex
The Vertex, sometimes called counter-Ascendant, is a fictitious point which is at the intersection of two great circles, the Ecliptic and the great vertical circle (Prime Vertical) in the West of the birthplace, linking the East, the Zenith, the West, and the Nadir. It is always located in the West of the chart around the Descendant. It is the chart's fifth angle, so to speak, less important than the other angles. Its interpretation is controversial, because certain astrologers pay no attention to it.
The Vertex is sometimes considered to be the second Descendant because, like the latter, it is related to communication and exchanges. It has to do with associations and fated encounters, those that are not chosen, and reveals the type of sensitivity and reactivity we have in our dealings with other people: a refined and tolerant way in Libra, straightforward and spontaneous in Aries, etc.
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The East Point
The East Point is a fictitious point at the intersection of two great circles, the Ecliptic and the great vertical circle (Prime Vertical) in the East of the birthplace, linking the East, the Zenith, the West, and the Nadir. It is always located in the East of the chart, around the Ascendant.
The East Point is sometimes considered to be a second Ascendant, less important, but also related to how one is seen by other people, and to how one expresses one's personality.
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Cupido
Cupido is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Cupido, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
On the upside, Cupido is related to socialisation, the arts, and marital life. On the downside, it indicates vanity, addiction to pleasures, and being strongly influenced by groups of people.
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Hades
Hades is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Hades, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Hades corresponds to intellectual rigour, service rendered to people, the purpose of being useful. On the downside; it leads to carelessness, indifference, apathy, and mess.
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Zeus
Zeus is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Zeus, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Zeus is related to creativity, as well as to organisational and leadership capacities. On the downside, it may lead to aggressiveness and to excessive militancy.
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Kronos
Kronos is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Kronos, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Kronos is related to authority and cleverness. In tough aspect, it may make the person conceited, presumptuous, or elitist.
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Apollon
Apollon is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Apollon, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Apollon is related to the ability to synthesise, as well as to broad-mindedness, and fame. In difficult aspect, it may bring about superficiality or extravagance.
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Admetos
Admetos is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Admetos, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Admetos is related to the deepness of the mind, asceticism, simplicity, and analytical mind. In tough aspect, it may make the person nit-picking, inflexible, and narrow-minded.
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Vulcanus
Vulcanus is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Vulcanus, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Vulcanus, sometimes said to be the higher octave of Saturn, provides strength to improve collective relations, to structure things, to be efficient, and to get straight to the point. On the downside, he may bring about arrogance and scattered efforts.
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Poseidon
Poseidon is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Poseidon, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Poseidon brings about wisdom, a clear mind, and sometimes spirituality. On the downside, it may make the person dogmatic, manipulative, or out of touch with reality.
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Proserpina
Proserpina, sometimes referred to as Persephone, is a trans-Plutonian hypothetical planet. N.B.: numerous astrologers believe neither in the influence of Proserpina, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Proserpina is related to mysteries, revival and reconstruction, as well as cycles. She enriches the unconscious, and gives the possibility to combine modern life with spirituality, the East with the West, and mysticism with concrete life.
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Biography of Dr. Seuss
Theodor Seuss Geisel (pronounced /ˈɡaɪzəl/; March 2, 1904 in Springfield, Massachusetts � September 24, 1991) was an American writer and cartoonist most widely known for his children's books written under the pen name Dr. Seuss. He published over 60 children's books, which were often characterized by imaginative characters, rhyme, and frequent use of trisyllabic meter. His most celebrated books include the bestselling Green Eggs and Ham, The Cat in the Hat, and One Fish Two Fish Red Fish Blue Fish. Numerous adaptations of his work have been created, including eleven television specials, three feature films, and a Broadway musical.
Geisel also worked as an illustrator for advertising campaigns, most notably for Flit and Standard Oil, and as a political cartoonist for PM, a New York City newspaper. During World War II, he worked in an animation department of the U.S Army, where he wrote Design for Death, a film that later won the 1947 Academy Award for Documentary Feature.
Read Across America is an initiative on reading created by the National Education Association. One part of the project is National Read Across America Day, an observance in the United States held on March 2, the birthday of Dr. Seuss.
Early life and career
Theodor Seuss Geisel was born in Springfield, Massachusetts to Henrietta Seuss and Theodor Robert Geisel. His father, the son of German immigrants, inherited the family brewery one month before the start of Prohibition and later supervised Springfield's public park system and zoo. Geisel was raised in the Lutheran faith and remained a member of the denomination his entire life.
Geisel attended Springfield's Central High School and entered Dartmouth College in fall 1921 as a member of the Class of 1925 and joined Sigma Phi Epsilon fraternity. At Dartmouth, Geisel joined the humor magazine Dartmouth Jack-O-Lantern, eventually rising to the rank of editor-in-chief.
While at Dartmouth, Geisel was caught drinking gin with nine friends in his room, violating national Prohibition laws of the time. As a result, the school insisted that he resign from all extracurricular activities, including the college humor magazine. To continue work on the Jack-O-Lantern without the administration's knowledge, Geisel began signing his work with the pen name "Seuss." His first work signed as "Dr. Seuss" appeared after he graduated, six months into his work for humor magazine The Judge where his weekly feature Birdsies and Beasties appeared. Geisel was encouraged in his writing by professor of rhetoric W. Benfield Pressey, whom he described as his "big inspiration for writing" at Dartmouth.
After Dartmouth, he entered Lincoln College, Oxford, intending to earn a Doctor of Philosophy in English literature. At Oxford, he met his future wife Helen Palmer; he married her in 1927, and returned to the United States without earning a degree.
He began submitting humorous articles and illustrations to Judge, The Saturday Evening Post, Life, Vanity Fair, and Liberty. One notable "Technocracy Number" made fun of the Technocracy movement and featured satirical rhymes at the expense of Frederick Soddy. He became nationally famous from his advertisements for Flit, a common insecticide at the time. His slogan, "Quick, Henry, the Flit!" became a popular catchphrase. Geisel supported himself and his wife through the Great Depression by drawing advertising for General Electric, NBC, Standard Oil, and many other companies. In 1935, he wrote and drew a short-lived comic strip called Hejji.
In 1937, while Geisel was returning from an ocean voyage to Europe, the rhythm of the ship's engines inspired the poem that became his first book, And to Think That I Saw It on Mulberry Street. Geisel wrote three more children's books before World War II, two of which are, atypically for him, in prose.
As World War II began, Geisel turned to political cartoons, drawing over 400 in two years as editorial cartoonist for the left-wing New York City daily newspaper, PM. Geisel's political cartoons, later published in Dr. Seuss Goes to War, opposed the viciousness of Hitler and Mussolini and were highly critical of isolationists, most notably Charles Lindbergh, who opposed American entry into the war. One cartoon depicted all Japanese Americans as latent traitors or fifth-columnists, while at the same time other cartoons deplored the racism at home against Jews and blacks that harmed the war effort. His cartoons were strongly supportive of President Roosevelt's conduct of the war, combining the usual exhortations to ration and contribute to the war effort with frequent attacks on Congress (especially the Republican Party), parts of the press (such as the New York Daily News, Chicago Tribune and Washington Times-Herald), and others for criticism of Roosevelt, criticism of aid to the Soviet Union, investigation of suspected Communists, and other offenses that he depicted as leading to disunity and helping the Nazis, intentionally or inadvertently.
In 1942, Geisel turned his energies to direct support of the U.S. war effort. First, he worked drawing posters for the Treasury Department and the War Production Board. Then, in 1943, he joined the Army and was commander of the Animation Dept of the First Motion Picture Unit of the United States Army Air Forces, where he wrote films that included Your Job in Germany, a 1945 propaganda film about peace in Europe after World War II, Our Job in Japan, and the Private Snafu series of adult army training films. While in the Army, he was awarded the Legion of Merit. Our Job in Japan became the basis for the commercially released film, Design for Death (1947), a study of Japanese culture that won the Academy Award for Documentary Feature. Gerald McBoing-Boing (1950), which was based on an original story by Seuss, won the Academy Award for Animated Short Film.
Later years
After the war, Geisel and his wife moved to La Jolla, California. Returning to children's books, he wrote many works, including such children's favorites as If I Ran the Zoo, (1950), Scrambled Eggs Super! (1953), On Beyond Zebra! (1955), If I Ran the Circus (1956), and How the Grinch Stole Christmas! (1957). Although he received numerous awards throughout his career, Geisel won neither the Caldecott Medal nor the Newbery Medal. Three of his titles from this period were, however, chosen as Caldecott runners-up (now referred to as Caldecott Honor books): McElligot's Pool (1947), Bartholomew and the Oobleck (1949), and If I Ran the Zoo (1950). Dr Seuss also wrote the musical and fantasy film The 5,000 Fingers of Dr. T., which was released in 1953 . The film was a critical and financial failure, and would be the only feature film ever written by Dr. Seuss. At the same time, an important development occurred that influenced much of Geisel's later work. In May 1954, Life magazine published a report on illiteracy among school children, which concluded that children were not learning to read because their books were boring. Accordingly, William Ellsworth Spaulding, a textbook editor at Houghton Mifflin who later became its Chairman, compiled a list of 348 words he felt were important for first-graders to recognize and asked Geisel to cut the list to 250 words and write a book using only those words. Spaulding challenged Geisel to "bring back a book children can't put down." Nine months later, Geisel, using 236 of the words given to him, completed The Cat in the Hat. This book was a tour de force�it retained the drawing style, verse rhythms, and all the imaginative power of Geisel's earlier works, but because of its simplified vocabulary could be read by beginning readers. These books achieved significant international success and they remain very popular.
Geisel went on to write many other children's books, both in his new simplified-vocabulary manner (sold as Beginner Books) and in his older, more elaborate style. The Beginner Books were not easy for Geisel, and reportedly he labored for months crafting them.
On October 23, 1967, suffering from a long struggle with illnesses including cancer, Geisel's wife, Helen Palmer Geisel, committed suicide. Geisel married Audrey Stone Dimond on June 21, 1968. Though he devoted most of his life to writing children's books, Geisel never had any children. He would say, when asked about this, "You have 'em; I'll entertain 'em."
Death and posthumous honors
Geisel died, following several years of illness, in San Diego, California. He was cremated and his ashes were scattered. On December 1, 1995, four years after his death, UCSD's University Library Building was renamed Geisel Library in honor of Geisel and Audrey for the generous contributions they made to the library and their devotion to improving literacy.
While living in La Jolla, Geisel was frequently confused by the United States Postal Service and others with another La Jolla resident, Dr. Suess (Hans Suess). Their names have been linked together posthumously: the personal papers of Hans Suess are housed in the Geisel Library at UC San Diego.
In 2002, the Dr. Seuss National Memorial Sculpture Garden opened in his birthplace of Springfield, Massachusetts; it features sculptures of Geisel and of many of his characters. On May 28, 2008, California Governor Arnold Schwarzenegger and First Lady Maria Shriver announced that Geisel would be inducted into the California Hall of Fame, located at The California Museum for History, Women and the Arts. The induction ceremony took place December 15 and his widow Audrey accepted the honor in his place. On March 2, 2009, the web search engine Google temporarily changed its logo to commemorate Geisel's birthday (a practice it often follows for various holidays and events). At his alma mater, Dartmouth, where over 90% of incoming first-year students participate in pre-registration Dartmouth Outing Club trips into the New Hampshire wilderness, it is traditional for students returning from the trips to overnight at Dartmouth's Moosilauke Ravine Lodge, where they are served green eggs and ham for breakfast in honor of Dr. Seuss.
Pen names and pronunciations
Geisel's pen name is regularly pronounced /ˈsuːs/ or /ˈsjuːs/, an anglicized pronunciation inconsistent with his German surname. He himself noted that it rhymed with "voice" (his own pronunciation being /soɪs/) and Alexander Liang (his collaborator on the Dartmouth Jack-O-Lantern) wrote of him:
You�re wrong as the deuce
And you shouldn�t rejoice
If you�re calling him Seuss.
He pronounces it Soice.
Geisel switched to the anglicized pronunciation from German because it "evoked a figure advantageous for an author of children�s books to be associated with�Mother Goose."
For books that Geisel wrote and others illustrated, he used the pen name "Theo. LeSieg" ("Geisel" spelled backwards).
Political views
Dr. Seuss was a veteran. Geisel's early political cartoons show a passionate opposition to fascism, and he urged Americans to oppose it, both before and after the entry of the United States into World War II. His cartoons tended to regard the fear of communism as overstated, finding the greater threat in the Dies Committee and those who threatened to cut America's "life line" to Stalin and Soviet Russia, the ones carrying "our war load".
Geisel's cartoons also called attention to the early stages of the Holocaust and denounced discrimination in America against African Americans and Jews. Geisel himself experienced anti-semitism: in his college days, he was refused entry into certain circles because of a misperception that he was Jewish (he was in fact a practicing Lutheran).
However, Geisel supported the Japanese American internment during World War II. His treatment of the Japanese and of Japanese Americans, whom he often failed to differentiate between, has struck many readers as a moral blind spot. On the issue of the Japanese, he is quoted as saying:
But right now, when the Japs are planting their hatchets in our skulls, it seems like a hell of a time for us to smile and warble: "Brothers!" It is a rather flabby battle cry. If we want to win, we�ve got to kill Japs, whether it depresses John Haynes Holmes or not. We can get palsy-walsy afterward with those that are left.
�Theodor Geisel, quoted in Dr. Seuss Goes to War, by Dr. Richard H. Minear
Cartoon of John Haynes Holmes. By Dr.Seuss
After the war, though, Geisel was able to end his feelings of animosity, using his book Horton Hears a Who (1954) as an allegory for the American post-war occupation of Japan, as well as dedicating the book to a Japanese friend.
In 1948, after living and working in Hollywood for years, Geisel moved to La Jolla, California. It is said that when he went to register to vote in La Jolla, some Republican friends called him over to where they were registering voters, but Geisel said, "You, my friends, are over there, but I am going over here ."
In his books
Though Geisel made a point of not beginning the writing of his stories with a moral in mind, stating that "kids can see a moral coming a mile off", he was not against writing about issues; he said "there's an inherent moral in any story" and remarked that he was "subversive as hell".
Many of Geisel's books are thought to express his views on a myriad of social and political issues: The Lorax (1971), about environmentalism and anti-consumerism; The Sneetches (1961), about racial equality; The Butter Battle Book (1984), about the arms race; Yertle the Turtle (1958), about anti-fascism and anti-authoritarianism; How the Grinch Stole Christmas! (1957), about anti-materialism; and Horton Hears a Who! (1954), about anti-isolationism and internationalism. Shortly before the end of the 1972�1974 Watergate scandal, in which United States president Richard Nixon resigned, Geisel converted one of his famous children's books into a polemic. "Richard M. Nixon, Will You Please Go Now!" was published in major newspapers through the column of his friend Art Buchwald.
Although Geisel never made any explicit or implicit mention of the abortion debate in his books, the line "A person's a person, no matter how small!!" from Horton Hears a Who! has grown, over the objections of his widow, into widespread use on the pro-life side of the issue.
Poetic meters
Geisel wrote most of his books in anapestic tetrameter, a poetic meter employed by many poets of the English literary canon. This characteristic style of writing, which draws and pulls the reader into the text, is often suggested as one of the reasons that Geisel's writing was so well-received.
Anapestic tetrameter consists of four rhythmic units, anapests, each composed of two weak beats followed by one strong beat; often, the first weak syllable is omitted, or an additional weak syllable is added at the end. An example of this meter can be found in Geisel's "Yertle the Turtle", from Yertle the Turtle and Other Stories:
"And today the Great Yertle, that Marvelous he
Is King of the Mud. That is all he can see."
Geisel generally maintained this rhythm quite strictly, but in his later career somewhat relaxed this tendency. The consistency of his meter was one of his hallmarks; the many imitators and parodists of Geisel are often unable to write in strict anapestic tetrameter, or are unaware that they should, and thus sound clumsy in comparison.
Some books by Geisel that are written mainly in anapestic tetrameter also contain many lines written in amphibrachic tetrameter, such as these from If I Ran the Circus:
"All ready to put up the tents for my circus.
I think I will call it the Circus McGurkus.
"And NOW comes an act of Enormous Enormance!
No former performer's performed this performance!"
Geisel also wrote verse in trochaic tetrameter, an arrangement of a strong beat followed by a weak beat, with four units per line (for example, the title of One Fish Two Fish Red Fish Blue Fish). The formula for trochaic meter permits the final weak position in the line to be omitted, which facilitates the construction of rhymes.
Geisel generally maintained trochaic meter only for brief passages, and for longer stretches typically mixed it with iambic tetrameter, which consists of a weak beat followed by a strong, and is generally considered easier to write. Thus, for example, the magicians in Bartholomew and the Oobleck make their first appearance chanting in trochees (thus resembling the witches of Shakespeare's Macbeth):
"Shuffle, duffle, muzzle, muff"
then switch to iambs for the oobleck spell:
"Go make the Oobleck tumble down
On every street, in every town!"
Artwork
Geisel's earlier artwork often employed the shaded texture of pencil drawings or watercolors, but in children's books of the postwar period he generally employed the starker medium of pen and ink, normally using just black, white, and one or two colors. Later books such as The Lorax used more colors.
Geisel's figures are often rounded and somewhat droopy. This is true, for instance, of the faces of the Grinch and of the Cat in the Hat. It is also true of virtually all buildings and machinery that Geisel drew: although these objects abound in straight lines in real life, for buildings, this could be accomplished in part through choice of architecture. For machines, for example, If I Ran the Circus includes a droopy hoisting crane and a droopy steam calliope.
Geisel evidently enjoyed drawing architecturally elaborate objects. His endlessly varied (but never rectilinear) palaces, ramps, platforms, and free-standing stairways are among his most evocative creations. Geisel also drew elaborate imaginary machines, of which the Audio-Telly-O-Tally-O-Count, from Dr. Seuss's Sleep Book, is one example. Geisel also liked drawing outlandish arrangements of feathers or fur, for example, the 500th hat of Bartholomew Cubbins, the tail of Gertrude McFuzz, and the pet for girls who like to brush and comb, in One Fish Two Fish.
Geisel's images often convey motion vividly. He was fond of a sort of voil� gesture, in which the hand flips outward, spreading the fingers slightly backward with the thumb up; this is done by Ish, for instance, in One Fish Two Fish when he creates fish (who perform the gesture themselves with their fins), in the introduction of the various acts of If I Ran the Circus, and in the introduction of the Little Cats in The Cat in the Hat Comes Back. He was also fond of drawing hands with interlocked fingers, which looked as though the character was twiddling their thumbs.
Geisel also follows the cartoon tradition of showing motion with lines, for instance in the sweeping lines that accompany Sneelock's final dive in If I Ran the Circus. Cartoonist's lines are also used to illustrate the action of the senses (sight, smell, and hearing) in The Big Brag and even of thought, as in the moment when the Grinch conceives his awful idea.
Recurring images
Geisel's early work in advertising and editorial cartooning produced sketches that received more perfect realization later in the children's books. Often, the expressive use to which Geisel put an image later on was quite different from the original.
* An editorial cartoon of July 16, 1941 depicts a whale resting on the top of a mountain, as a parody of American isolationists, especially Charles Lindbergh. This was later rendered (with no apparent political content) as the Wumbus of On Beyond Zebra (1955). Seussian whales (cheerful and balloon-shaped, with long eyelashes) also occur in McElligot's Pool, If I Ran the Circus, and other books.
* Another editorial cartoon from 1941 shows a long cow with many legs and udders, representing the conquered nations of Europe being milked by Adolf Hitler. This later became the Umbus of On Beyond Zebra.
* The tower of turtles in a 1942 editorial cartoon prefigures a similar tower in Yertle the Turtle. This theme also appeared in a Judge cartoon as one letter of a hieroglypic message, and in Geisel's short-lived comic strip Hejji. Geisel once stated that Yertle the Turtle was Adolf Hitler.
* Little cats A B and C (as well as the rest of the alphabet) who spring from each other's hats appeared in a Ford ad.
* The connected beards in Did I Ever Tell You How Lucky You Are? appear frequently in Geisel's work, most notably in Hejji, which featured two goats joined at the beard, The 5000 Fingers of Dr. T, which featured two roller-skating guards joined at the beard, and a political cartoon in which Nazism and the America First movement are portrayed as "the men with the Siamese Beard."
* Geisel's earliest elephants were for advertising and had somewhat wrinkly ears, much as real elephants do. With And to Think That I Saw It on Mulberry Street (1937) and Horton Hatches the Egg (1940), the ears became more stylized, somewhat like angel wings and thus appropriate to the saintly Horton. During World War II, the elephant image appeared as an emblem for India in four editorial cartoons. Horton and similar elephants appear frequently in the postwar children's books.
* While drawing advertisements for Flit, Geisel became adept at drawing insects with huge stingers, shaped like a gentle S-curve and with a sharp end that included a rearward-pointing barb on its lower side. Their facial expressions depict gleeful malevolence. These insects were later rendered in an editorial cartoon as a swarm of Allied aircraft (1942), and again as the Sneedle of On Beyond Zebra, and yet again as the Skritz in I Had Trouble in Getting to Solla Sollew.
Publications
Further information: List of Dr. Seuss books
Over the course of his long career, Geisel wrote over 60 books. Though most were published under his well-known pseudonym, Dr. Seuss, he also authored over a dozen books as Theo. LeSieg and one as Rosetta Stone. As one of the most popular children's authors of all time, Geisel's books have topped many bestseller lists, sold over 222 million copies, and been translated into more than 15 languages. In 2000, Publishers Weekly compiled a list of the best-selling children's books of all time; of the top 100 hardcover books, 16 were written by Geisel, including Green Eggs and Ham, at number 4, The Cat in the Hat, at number 9, and One Fish Two Fish Red Fish Blue Fish, at number 13. In the years after his death in 1991, several additional books have been published based on his sketches and notes; these include Hooray for Diffendoofer Day! and Daisy-Head Mayzie. Though they were all published under the name Dr. Seuss, only My Many Colored Days, originally written in 1973, was entirely by Geisel.
At various times Geisel also wrote books for adults that used the same style of verse and pictures: The Seven Lady Godivas, which included nude depictions; Oh, The Places You'll Go!, which has become a popular gift for graduating students; and You're Only Old Once!, which chronicles an old man's journey through a clinic, a satire of the inefficiency of clinics.
Adaptations
Further information: List of Dr. Seuss television adaptations
For most of his career, Geisel was reluctant to have his characters marketed in contexts outside of his own books. However, he did allow for the creation of several animated cartoons, an art form in which he himself had gained experience during the Second World War, and gradually relaxed his policy as he aged.
The first adaptation of one of Geisel's works was a cartoon version of Horton Hatches the Egg, animated at Warner Brothers in 1942. Directed by Robert Clampett, it was presented as part of the Looney Tunes series, and included a number of gags not present in the original narrative, including a fish committing suicide and a Katharine Hepburn imitation by Maisie.
In 1959, Geisel authorized Revell, the well-known plastic model-making company, to make a series of "animals" that snapped together rather than being glued together, and could be assembled, disassembled and re-assembled "in thousands" of ways. The series was called the "Dr. Seuss Zoo" and included Gowdy the Dowdy Grackle, Norval the Bashful Blinket, Tingo the Noodle Topped Stroodle and Roscoe the Many Footed Lion. The basic body parts were the same and all were interchangeable, and so it was possible for children to combine parts from various characters in essentially unlimited ways in creating their own animal characters (Revell encouraged this by selling Gowdy, Norval and Tingo together in a "Gift Set" as well as individually). Revell also made a conventional glue-together "beginner's kit" of The Cat in the Hat.
In 1966, Geisel authorized the eminent cartoon artist Chuck Jones, his friend and former colleague from the war, to make a cartoon version of How the Grinch Stole Christmas!; Geisel was credited as a co-producer, along with Jones, under his real name, "Ted Geisel". The cartoon was very faithful to the original book, and is considered a classic by many to this day; it is often broadcast as an annual Christmas television special. In 1970, an adaptation of Horton Hears a Who! was directed by Chuck Jones for MGM.
From 1971 to 1982, Geisel wrote seven television specials, which were produced by DePatie-Freleng Enterprises and aired on CBS: The Cat in the Hat (1971), The Lorax (1972), Dr. Seuss on the Loose (1973), The Hoober-Bloob Highway (1975), Halloween Is Grinch Night (1977), Pontoffel Pock, Where Are You? (1980), and The Grinch Grinches the Cat in the Hat (1982). Several of the specials were nominated for and won multiple Emmy Awards.
A Soviet paint-on-glass-animated short film called Welcome (an adaptation of Thidwick the Big-Hearted Moose) was made in 1986. The last adaptation of Geisel's works before he died was The Butter Battle Book, a television special based on the book of the same name, directed by adult animation legend Ralph Bakshi. Geisel himself called the special "the most faithful adaptation of his work."
After Geisel died of cancer at the age of 87 in 1991, his widow Audrey Geisel was placed in charge of all licensing matters. She approved a live-action feature film version of How the Grinch Stole Christmas! starring Jim Carrey, as well as a Seuss-themed Broadway musical called Seussical, and both premiered in 2000. The Grinch has had limited engagement runs on Broadway during the Christmas season, after premiering in 1998 (under the title How the Grinch Stole Christmas!) at the Old Globe Theatre in San Diego, where it has become a Christmas tradition. In 2003, another live-action film was released, this time an adaptation of The Cat in the Hat that featured Mike Myers as the title character. Audrey Geisel was vocal in her dislike of the film, especially the casting of Myers as the Cat in the Hat, and stated that there would be no further live-action adaptations of Geisel's books. However, an animated CGI feature film adaptation of Horton Hears a Who! was approved, and was eventually released on March 14, 2008, to critical acclaim.
Two television series have been adapted from Geisel's work. The first, The Wubbulous World of Dr. Seuss, was a mix of live-action and puppetry by Jim Henson Television, the producers of The Muppets. It aired for one season on Nickelodeon in the United States, from 1996 to 1997. The second, Gerald McBoing-Boing, is an animated television adaptation of Geisel's 1951 cartoon of the same name. Produced in Canada by Cookie Jar Entertainment, it ran from 2005 to 2007.
Geisel's books and characters are also featured in Seuss Landing, one of many islands at the Islands of Adventure theme park in Orlando, Florida. In an attempt to match Geisel's visual style, there are reportedly "no straight lines" in Seuss Landing.
Further information
* Cohen, Charles (2004). The Seuss, the Whole Seuss and Nothing But the Seuss: A Visual Biography of Theodor Seuss Geisel. Random House Books for Young Readers. ISBN 0375822488.
* Fensch, Thomas (ed.) (1997). Of Sneetches and Whos and the Good Dr. Seuss: Essays on the Writings and Life of Theodor Geisel. McFarland & Company. ISBN 0786403888.
* Geisel, Audrey (1995). The Secret Art of Dr. Seuss. Random House. ISBN 0679434488.
* Geisel, Theodor (1987). Dr. Seuss from Then to Now: A Catalogue of the Retrospective Exhibition. Random House. ISBN 0394892682.
* Geisel, Theodor; Richard Minnear (ed.) (2001). Dr. Seuss Goes to War: The World War II Editorial Cartoons of Theodor Seuss Geisel. New Press. ISBN 1565847040.
* Geisel, Theodor (2005). Theodor Seuss Geisel: The Early Works, Volume 1. Checker Book Publishing. ISBN 1933160012.
* Geisel, Theodor; Richard Marschall (ed.) (1987). The Tough Coughs as he Ploughs the Dough: Early Writings and Cartoons by Dr. Seuss. New York: Morrow/Remco Worldservice Books. ISBN 0688065481.
* Lamothe, Ron. (2004). The Political Dr. Seuss. . Terra Incognita Films. http://www.tifilms.com/dr_seuss/seuss.htm. Documentary aired on the Public Television System.
* MacDonald, Ruth K. (1988). Dr. Seuss. Twayne Publishers. ISBN 0805775242.
* Morgan, Judith; Neil Morgan (1995). Dr. Seuss & Mr. Geisel. Random House. ISBN 0679416862.
* Nel, Philip (2007). The Annotated Cat: Under the Hats of Seuss and His Cats. Random House. ISBN 9780375833694.
* Nel, Philip (2004). Dr. Seuss: American Icon. Continuum Publishing. ISBN 0826414346.
* Weidt, Maryann; Kerry Maguire (1994). Oh, the Places He Went. Carolrhoda Books. ISBN 0876146272.
| Dr. Seuss |
Known as The Palmetto State, what was the 8th state to join the union on May 23, 1788? | Astrology: Dr. Seuss, date of birth: 1904/03/02, Horoscope, Astrological Portrait, Dominant Planets, Birth Data, Biography
1st Fire sign - 1st Cardinal sign (spring equinox) - Masculine
In analogy with Mars, his ruler, and the 1st House
Aries governs the head.
His colour is red, his stone is the heliotrope, his day is Tuesday, and his professions are businessman, policeman, sportsman, surgeon...
If your sign is Aries or your Ascendant is Aries: you are courageous, frank, enthusiastic, dynamic, fast, bold, expansive, warm, impulsive, adventurous, intrepid, warlike, competitive, but also naive, domineering, self-centred, impatient, rash, thoughtless, blundering, childish, quick-tempered, daring or primitive.
Some traditional associations with Aries: Countries: England, France, Germany, Denmark. Cities: Marseille, Florence, Naples, Birmingham, Wroclaw, Leicester, Capua, Verona. Animals: Rams and sheeps. Food: Leeks, hops, onions, shallots, spices. Herbs and aromatics: mustard, capers, Cayenne pepper, chilli peppers. Flowers and plants: thistles, mint, bryonies, honeysuckles. Trees: hawthorns, thorny trees and bushes. Stones, Metals and Salts: diamonds, iron, potassium phosphate.
Signs: Taurus
1st Earth sign - 1st Fixed sign - Feminine
In analogy with Venus, his ruler, and the 2nd House
Taurus governs the neck and the throat.
Her colour is green or brown, her stone is the emerald, her day is Friday, her professions are cook, artist, estate agent, banker, singer...
If your sign is Taurus or your Ascendant is Taurus: you are faithful, constant, sturdy, patient, tough, persevering, strong, focused, sensual, stable, concrete, realistic, steady, loyal, robust, constructive, tenacious. You need security, but you are also stubborn, rigid, possessive, spiteful, materialistic, fixed or slow.
Some traditional associations with Taurus: Countries: Switzerland, Greek islands, Ireland, Cyprus, Iran. Cities: Dublin, Palermo, Parma, Luzern, Mantua, Leipzig, Saint Louis, Ischia, Capri. Animals: bovines. Food: apples, pears, berries, corn and other cereals, grapes, artichokes, asparagus, beans. Herbs and aromatics: sorrels, spearmint, cloves. Flowers and plants: poppies, roses, digitales, violets, primroses, aquilegia, daisies. Trees: apple trees, pear trees, fig-trees, cypresses, ash trees. Stones, Metals and Salts: copper, calcium and potassium sulphate, emeralds.
Signs: Gemini
1st Air sign - 1st Mutable sign - Masculine
In analogy with Mercury, his ruler, and the 3rd House
Gemini governs the arms, the lungs and the thorax.
His colour is green or silver, his stone is the crystal, his day is Wednesday, his professions are journalist, lawyer, presenter, dancer, salesman, travel agent, teacher...
If your sign is Gemini or if your Ascendant is Gemini: you are expressive, lively, adaptable, quick-witted, humorous, sparkling, playful, sociable, clever, curious, whimsical, independent, polyvalent, brainy, flexible, ingenious, imaginative, charming, fanciful but also capricious, scattered, moody, shallow, inquisitive, opportunistic, unconcerned, selfish, fragile, ironical or changeable.
Some traditional associations with Gemini: Countries: Belgium, Wales, United-States, Lower Egypt, Sardinia, Armenia. Cities: London, Plymouth, Cardiff, Melbourne, San Francisco, Nuremberg, Bruges, Versailles. Animals: monkeys, butterflies, parrots, budgerigars. Food: dried fruits, chestnuts, ground-level vegetables: peas, broad beans, etc. Herbs and aromatics: aniseed, marjoram, lemon balm, cumin. Flowers and plants: lilies of the valley, lavenders, myrtle, ferns, Venus-hair-ferns, bittersweets. Trees: nut trees such as chestnut trees. Stones, Metals and Salts: agates, mercury, silicas and potashes.
Signs: Cancer
1st Water sign - 2nd Cardinal sign (summer solstice) - Feminine
In analogy with the Moon, her ruler, and the 4th House
Cancer governs the stomach and the breast.
Her colour is white or black, her stone is the moonstone, her day is Monday, her professions are catering, the hotel trade, property, antique dealer, archaeologist...
If your sign is Cancer or your Ascendant is Cancer: you are emotional, sentimental, peaceful, imaginative, sensitive, faithful, resistant, protective, vulnerable, generous, romantic, nostalgic, tender, poetic-minded, motherly or fatherly, dreamy, indolent, greedy, devoted but also timorous, unrealistic, evasive, passive, anxious, dependent, stubborn, moody, passive, lazy, touchy, stay-at-home or inaccessible.
Some traditional associations with Cancer: Countries: Holland, Scotland, North and West Africa, New-Zealand, Paraguay, Algeria. Cities: Amsterdam, Manchester, Tokyo, New York, Istanbul, Stockholm, Milan, Venice, Genoa, Cadix, Alger, Tunis, Bern, Magdeburg. Animals: crabs, animals with shells. Food: milk, fishes, watery fruits and vegetables, turnips, white and red cabbages. Herbs and aromatics: tarragon, verbena, saxifrage. Flowers and plants: geraniums, white roses and white flowers in general, water lilies, morning glory, bear's breeches, and lilies. Trees: all trees full of sap. Stones, Metals and Salts: pearls, silver, lime and calcium phosphate.
Signs: Leo
2nd Fire sign - 2nd Fixed sign - Masculine
In analogy with the Sun, his ruler, and the 5th House
Leo governs the heart and the spine, and the eyes, according to some authors.
His colour is gold or orange, his stone is the diamond, his day is Sunday, his professions are actor, manager, jeweller, fashion and arts, and action (e.g. fireman)...
If your sign is Leo or your Ascendant is Leo: you are proud, determined, strong-willed, loyal, solemn, generous, ambitious, courageous, heroic, conquering, creative, confident, seductive, happy, daring, fiery, majestic, honest, magnanimous, charismatic, responsible, noble, dramatic but also domineering, vain, susceptible, bossy, stubborn, intolerant, self-centred, violent, quick-tempered, nonchalant.
Some traditional associations with Leo: Countries: Italy, Romania, Sicily, Czechoslovakia, Iraq, Lebanon, Southern France. Cities: Rome, Prague, Bombay, Madrid, Philadelphia, Chicago, Los Angeles, Bath, Bristol, Portsmouth, Syracuse, Damas. Animals: lions and felines in general. Food: meat and especially red meat, rice, honey, cereals, grapes, iron-rich vegetables: watercress, spinach etc. Herbs and aromatics: saffron, mint, rosemary, common rue (Ruta graveolens). Flowers and plants: marigolds, sunflowers, celandines, passion flowers. Trees: palm trees, laurel, walnuts, olive trees, lemon and orange trees. Stones, Metals and Salts: gold, rubies, magnesium and sodium phosphate.
Signs: Virgo
2nd Earth sign - 2nd Mutable sign - Feminine
In analogy with Mercury, her ruler, and the 6th house
Virgo governs the intestine.
Her colour is green or yellow, her stone is the agate, her day is Wednesday, her professions are accountant, secretary, writer, computer scientist, nurse, doctor...
If your sign is Virgo or your Ascendant is Virgo: you are brainy, perspicacious, attentive to detail and numbers, analytical, serious, competent, scrupulous, sensible, modest, logical, tidy, well-organized, clean, hard-working, provident, honest, faithful, reserved, shy, helpful, a perfectionist, but also narrow-minded, calculating, irritating, petty, anxious, cold, repressed or caustic.
Some traditional associations with Virgo: Countries: Brazil, Greece, Turkey, West Indies, United-States (the same as Gemini), Yugoslavia, Crete, Mesopotamia, Lower Silesia, State of Virginia. Cities: Paris, Boston, Athens, Lyon, Corinthia, Heidelberg, spa towns in general. Animals: dogs, cats and all pets. Food: root vegetables: carrots, celeriac, kohlrabies, potatoes etc... Also dried fruits such as chestnuts. Herbs and aromatics: the same as Gemini whose ruler is Mercury too, lilies of the valley, lavenders, myrtles, ferns, Venus-hair-ferns, bittersweets, clovers. Flowers and plants: small bright-coloured flowers, especially blue and yellow, such as dandelions, buttercups, yellow dead-nettles, buglosses, forget-me-nots ; cardamoms, oak leaves, acorns. Trees: all nut trees, e.g. the hazelnut tree... Stones, Metals and Salts: sards (red agate), mercury, nickel, potassium sulphate and iron phosphate.
Signs: Libra
2nd Air sign - 3rd Cardinal sign (autumn equinox) - Masculine
In analogy with Venus, his ruler and the 7th House
Libra governs the kidneys and the bladder.
His colour is blue or red (not too bright), his stone is the opal, his day is Friday, his professions are in the beauty, luxury or fashion industry, musician, artistic creator, lawyer, mediator...
If your sign is Libra or your Ascendant is Libra: you are sentimental, charming, polite, refined, loyal, a pacifist, fair, distinguished, light-hearted, romantic, learned, ethereal, nice, well-groomed, a perfectionist, calm, sweet, tolerant, sociable, elegant, considerate, seductive, aesthetic, indulgent, but also hesitant, weak, indecisive, selfish, fragile, fearful, indolent, cool or even insensitive.
Some traditional associations with Libra: Countries: Japan, Canada, Indo-China, South Pacific Islands, Burma, Argentina, Upper Egypt, Tibet. Cities: Lisbon, Vienna, Frankfurt, Leeds, Nottingham, Johannesburg, Antwerp, Fribourg. Animals: lizards and small reptiles. Food: berries, apples, pears, grapes, artichokes, asparagus, beans, spices, corn and other cereals. Herbs and aromatics: mint, Cayenne pepper. Flowers and plants: hydrangea, big roses, blue flowers and those associated with Taurus also ruled by Venus, namely, poppies, digitales, violets, primroses, aquilegia, and daisies. Trees: ash trees, poplars, apple trees, pear trees, fig-trees, cypresses. Stones, Metals and Salts: sapphires, jade, copper, potassium and sodium phosphate.
Signs: Scorpio
2nd Water sign - 3rd Fixed sign - Feminine
In analogy with Pluto, her ruler with Mars, and the 8th House
Scorpio governs the sexual organs and the anus.
Her colour is black or dark red, her stone is the malachite, her day is Tuesday, her professions are gynaecologist, psychiatrist, detective, the military, army, stockbroker, asset managemer...
If your sign is Scorpio or your Ascendant is Scorpio: you are secretive, powerful, domineering, resistant, intuitive, asserted, charismatic, magnetic, strong-willed, perspicacious, passionate, creative, independent, vigorous, generous, loyal, hard-working, persevering, untameable, possessive, cunning, ambitious, sexual, proud, intense, competitive but also aggressive, destructive, stubborn, anxious, tyrannical, perverse, sadistic, violent, self-centred, complex, jealous.
Some traditional associations with Scorpio: Countries: Morocco, Norway, Algeria, Syria, Korea, Uruguay, Transvaal. Cities: Washington, New Orleans, Valencia, Liverpool, Milwaukee, Fes, Halifax, Hull, Cincinnati. Animals: insects and other invertebrates. Food: the same strong tasting food as for Aries: red meat, garlic, onions, leeks, spices. Herbs and aromatics: aloes, witch hazels, nepeta, mustard, capers, peppers. Flowers and plants: geraniums, rhododendrons, thistles, mint, honeysuckles. Trees: blackthorns, bushes. Stones, Metals and Salts: opals, steel and iron, calcium and sodium sulphate.
Signs: Sagittarius
3rd Fire sign - 3rd Mutable sign - Masculine
In analogy with Jupiter, his ruler, and the 9th House
Sagittarius governs the thighs and the liver.
His colour is indigo, orange or red, his stone is the carbuncle, his day is Thursday, his professions are explorer, commercial traveller, pilot, philosopher, writer, clergyman...
If your sign is Sagittarius or your Ascendant is Sagittarius: you are charismatic, fiery, energetic, likeable, benevolent, tidy, jovial, optimistic, extraverted, amusing, straightforward, demonstrative, charming, independent, adventurous, straightforward, bold, exuberant, freedom-loving.
Some traditional associations with Sagittarius: Countries: Spain, Australia, Hungary, South Africa, Arabia, Yugoslavia. Cities: Stuttgart, Toledo, Budapest, Cologne, Avignon, Sheffield, Naples, Toronto. Animals: fallow deers, hinds, and all games. Food: grapefruits, raisins, onions, leeks, bulb vegetables. Herbs and aromatics: aniseeds, sage, bilberries, cinnamon, borage, mosses, sage, blueberry, patience, balsam. Flowers and plants: dandelions, carnations, thistles. Trees: mulberry trees, chestnut trees, ash trees, lemon trees, oaks. Stones, Metals and Salts: topaz, tin, silica, potassium chloride.
Signs: Capricorn
3rd Earth sign - 4th Cardinal sign (winter solstice) - Feminine
In analogy with Saturn, her ruler, and the 10th House
Capricorn governs the knees, the bones and the skin.
Her colour is black, or grey, green or brown, her stone is the jade, her day is Saturday, her professions are politician, researcher, jurist, scientist, engineer, administrator...
If your sign is Capricorn or your Ascendant is Capricorn: you are serious, cold, disciplined, patient, focused, thoughtful, ambitious, indomitable, cautious, lucid, persistent, provident, steady, introverted, stern, wilful, hard-working, responsible, persevering, honest, realistic, loyal, reserved, resolute, moralistic, quiet, rigorous, attached and reliable. But you may also be curt, withdrawn, calculating, petty, cruel, unpleasant, ruthless, selfish, dull, rigid, slow or sceptical.
Some traditional associations with Capricorn: Countries: India, Mexico, Afghanistan, Macedonia, Thrace, the Yugoslavian coast, the Orkneys and Shetland Islands, Albania, Bulgaria, Saxony. Cities: Delhi, Oxford, Brussels, Mexico, Port-Saïd, Gent, Constance, Mecklenburg, all the administrative centres of capital cities. Animals: goats, pigs and animals with split hooves. Food: meat, potatoes, barley, beets, spinach, medlars, onions, quinces, flour and starchy food in general. Herbs and aromatics: indian hemp, comfreys, centaureas, hemlocks, henbanes. Flowers and plants: ivies, wild pansies, amaranths, pansies. Trees: pines, willows, flowering ashes, aspens, poplars, alders. Stones, Metals and Salts: turquoises, amethysts, silver, lead, calcium phosphate, calcium fluorine.
Signs: Aquarius
3rd Air sign - 4th Fixed sign - Masculine
In analogy with Uranus his ruler, with Saturn, and the 11th House
Aquarius governs the ankles and the legs.
His colour is navy blue or indigo, his stone is the sapphire, his day is Saturday, his professions are astrologer, high technologies, scientist, astronaut, psychiatrist, actor, electrician...
If your sign is Aquarius or your Ascendant is Aquarius: you are idealistic, altruistic, detached, independent, original, surprising, gifted, contradictory, innovative, humanistic, likeable, friendly, self-confident, impassive, quiet, intuitive, creative, charitable, elusive, disconcerting, generous, tolerant, paradoxical, and you cannot stand any kind of constraint. But you may also be marginal, resigned, distant, utopian, maladjusted, eccentric and cold.
Some traditional associations with Aquarius: Countries: Russia, Sweden, Poland, Israel, Iran, Abyssinia. Cities: Moscow, Salzburg, Bremen, Hamburg, Saint Petersburg. Animals: long distance big birds such as the albatross. Food: citrus fruits, apples, limes, dried fruits and easily preserved food. Herbs and aromatics: peppers, hot red peppers, star-fruits, and generally herbs that are spicy or with an unusual flavour. Flowers and plants: orchids, dancing ladies, polygonatum. Trees: fruit trees. Stones, Metals and Salts: aquamarines, aluminium, sodium chloride and magnesium phosphate.
Signs: Pisces
3rd Water sign - 4th Mutable sign - Feminine
In analogy with Neptune her ruler with Jupiter, and the 12th House
Pisces governs the feet and the blood circulation.
Her colour is green or purple or turquoise blue, her stone is the amethyst, her day is Thursday, her professions are seamanship and and faraway travels, musician, social and emergency worker, doctor, writer and jobs in remote places...
If your sign is Pisces or your Ascendant is Pisces: you are emotional, sensitive, dedicated, adaptable, nice, wild, compassionate, romantic, imaginative, flexible, opportunist, intuitive, impossible to categorized, irrational, seductive, placid, secretive, introverted, pleasant, artistic, and charming. But you may also be indecisive, moody, confused, wavering, lazy, scatterbrained, vulnerable, unpredictable and gullible.
Some traditional associations with Pisces: Countries: Portugal, Scandinavia, small Mediterranean islands, Gobi desert, Sahara. Cities: Jerusalem, Warsaw, Alexandria, Seville, Santiago de Compostela. Animals: fishes, aquatic mammals and all animals living in the water. Food: melons, cucumbers, lettuces, vegemite sugar, pumpkins. Herbs and aromatics: lemon, chicory, limes, mosses. Flowers and plants: water lilies, willows, aquatic plants. Trees: fig-trees, willows, aquatic trees. Stones, Metals and Salts: heliotropes, moonstone, platinum, tin, iron phosphate and potassium sulphate.
Sun 11�43' Pisces
Sun Aspects
Sun opposite Moon orb -8�21'
Sun quintile Uranus orb +0�12'
Sun square Pluto orb +6�58'
Sun trine Neptune orb -8�31'
Planets: Sun
The Sun represents vitality, individuality, will-power and creative energy and honours. For a woman, it also represents her father, and later her husband. The Sun is one of the most important symbols in the birth chart, as much as the Ascendant, then the Moon (a bit less for a man), the ruler of the Ascendant and the fast-moving planets.
It's element is fire; it is hot and dry, it governs Leo, is in exaltation in Aries and is in analogy with the heart. It represents the boss, authority, beside the father and the husband ; the age of the Sun goes from 20 years old to about 40, following the Venus age when one is aware of his seductive power.
Temperament : Bilious
Characterology : Emotive, Active, Secondary, passionate type.
Sun in Pisces
Your deep intuition and your extreme sensitivity allow you to perceive naturally what others understand through analysis. You do not follow the norms in use, societal or educational models and you prefer to create a moral for yourself. A feeling of isolation may come from your ability to live emotions that are unknown to your entourage. This strong impressionability endows you with a sixth sense and acute feelings. In some circumstances, distance and detachment are needed in order not to get bogged down in the necessities of the moment, in useless transient struggles and in barren conflicts. Pisces work wonders. Your strength: a sharp intuition of underlying stakes, a sensitivity that turns �the spirit of the times� into a real compass. All activities requiring stepping back are suitable for you. Before anyone else, you pick up the dangers of an adventure, the risks of defeats or of suspension� with your clear-sightedness more than due to pessimism. Therefore, you may abandon an objective that is not yet obsolete. It is important that you protect yourself against unnecessary disenchantments. Pisces hide a perceptiveness that many claim to possess. But your low-key advices are formulated in a peculiar language. The person who can understand your dazzling intuitions is very lucky.
Sun Dominant
If the Sun is part of your natal chart's planetary dominants, in astrology, you are said to be a Solarian: you loathe pettiness and Machiavellian manoeuvre, and you are fond of natural nobleness as well as of direct and honest attitudes. You endeavour to get out of muddled or dark situations as quickly as possible. Your need for transparency may lead you to make cut-and-dried judgments such as yes or no, and black or white. However, your honesty commands your entourage's consideration. At times, you come across as authoritarian. It is true that you never want to be thought of the notable absentee, and that you manage to make people pay attention to you, as well as to your plans and your assessments. To this end, the Solarian sometimes develops a great talent for placing himself under the spotlight without missing a single opportunity to arouse interest. Some other Solarians, although more discreet, still manage to be the focus of any debate, even in situations of exclusion. It is your way of being present even though you are actually not there... More than other people, you appreciate the esteem extended to you. It is useless to cheat with you, since in all areas you consider establishing enduring relationships only with those who love you, admire you, respect you, or express some degree of affection to you. Your will to straighten out your inter-personal relationships is your strength and sometimes, your Achilles' heel. You cannot achieve anything behind the scenes. Therefore, your comportment is marked with heroism, and your stands are devoid of ambiguity, in the sense that your commitments are unfailing, and your rebuffs, final.
Interpretation of the 11� Pisces symbolic degree
"A young man in a nice suit stands between two cones and fiddles with his wristwatch. One of the cones is intact, and the other one has its top cut off." ( Janduz version)
Indecisive, anxious, and ambitious character. If one is born in a wealthy family, after a reversal of fortune, one strives to recover one's social status. If one has modest origins, one is capable to rise to an important position and to achieve some degree of fame. In both cases, one must not aim at the top since this degree indicates limitations, and any attempt to reach the summit results in accidents or health conditions.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Moon 20�04' Virgo
Moon Aspects
Moon square Pluto orb +1�23'
Sun opposite Moon orb -8�21'
Moon bi-quintile Saturn orb +1�07'
Moon inconjunction Mercury orb +2�32'
Planets: Moon
The Moon represents instinctive reaction, unconscious predestination, everyday mood, sensitivity, emotions, the feminine side of the personality, intuition, imagination. For a man, she represents his mother and later his wife, and his relationship with women in general. For a woman, the Moon is almost as important as the Sun and the Ascendant. Her element is water, she is cold and moist, she rules Cancer, is in exaltation in Taurus and is in analogy with the stomach.
She symbolizes the mother, wife, the crowd, the Moon is associated with birth and childhood. Tradition also matches her with the end of life, after Saturn the old age, it is thus customary to go back to one's place of birth to die: the end of life meets the very beginning.
Temperament : Lymphatic
Characterology : Emotive, non Active and Primary type or Non-Emotive, non Active and Primary, Nervous or Amorphous type.
Moon in Virgo
On the day and at the time of your birth, the Moon was in the sign of Virgo. You have a strong need for security and your constant concern is to keep your intimate environment under control. You treasure and you protect all the things that make you feel comfortable. You have no exaggerated ambitions, no grandiose and boundless dreams. You only strive to organize all the elements of your everyday life, to find a place for each thing and to improve yourself. You can relax only if your habits are not disturbed by external events. You are selective in your intimate sphere and with your attachments, you are perfectly organized and in line with the self-set rules you establish as time goes by. For you, life is a puzzle composed of human pieces, a chessboard where you move according to an obvious logic. Daily landmarks and well-known items are important to you. You have the soul of a collector.
Moon Dominant
If the Moon is part of your natal chart's planetary dominants, in astrology, you are said to be a Lunarian: the driving force behind your actions is mainly the pursuit of well-being and tranquillity. Your sensitive and romantic self lives on those periods of rest during which you let your imagination wander at will. This is your way of finding inspiration and balance. Nothing is allowed to disturb your feeling of fulfilment and security within a harmonious cell, be it a family or a clan. More than other people, the Lunarian is attached to those moments during which one forgets one's worries and lets oneself cast adrift aimlessly, with no other goal than to be lulled into an ambiance, a situation, or a perfect moment. Many people do not understand such absences and their meaning, which is to regain strength. These people readily describe you with such unflattering terms as apathy and nonchalance. Never mind! Some inspirations require surrendering as well as striking a balance derived from alternate action and passivity. Your qualities are expressed to the fullest in situations which demand familiarity and privacy. Your capacities to respect and blend into your environment is at least as valuable as some other people's aggressive dispositions. However, you are well-advised to avoid indolence and renunciation out of laziness or indifference.
Interpretation of the 20� Virgo symbolic degree
"A food wholesaler holds a heavy bag of money in one hand and silver coins in the other." ( Janduz version)
Petty, stingy, and mercenary character. One is interested in financial profits and strives relentlessly to increase one's wealth, considering every penny spent, including those meant to meet basic daily needs such as meals and clothes. Speculations in food and raw materials are very lucrative.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Mercury 22�37' Aquarius
Mercury Aspects
Mercury conjunction Saturn orb +7�24'
Mercury trine Pluto orb -3�55'
Moon inconjunction Mercury orb +2�32'
Planets: Mercury
Mercury represents communication, logical and rational mind, intellectual skills. Earth is its element, it is cold and dry, and it rules Virgo and Gemini, is in exaltation in Virgo and is in analogy with the arms, hands, nervous system.
It represents tradesmen, lawyers, messengers; the age of Mercury goes from 8 or10 years old to about 15..
Temperament : Nervous
Characterology : Emotive, non Active and Primary type or Non-Emotive, Active and Primary, Nervous or Sanguine type.
Mercury in Aquarius
Mercury describes your relations, your communication skills and the way you relate to the external world. However, other astrological elements also influence these areas. The sign Mercury occupies is significant only if Mercury is part of your planetary dominantes. In your chart, Mercury is in Aquarius. Everything with a human tint catches your attention. You are sensitive to the specificities and the uniqueness of each individual and you feel you learn a lot whenever you meet with an open-minded and curious person. You do not get along well with stay-at-home and conservative people. As each relationship is constantly evolving, with time, it can, and it must, grow and offer surprises and potentials. On the human plane, you are very idealistic � sometimes even utopian � readily trusting and valuing persons who may not always be worth it. This is the drawback inherent to your highly commendable open-mindedness and your tolerance. Your ideas are original and liberal. In your communication, you display consideration and leniency and you acknowledge your interlocutor�s differences. However, your understanding is not unconditional and you detach yourself from disappointing people whose values are incompatible with yours. To each, his own!
Mercury Dominant
If Mercury is part of your natal chart's planetary dominants, in astrology, you are said to be a Mercurian: the tradition points out the importance of communication. From idle but enriching chatters to observation gift, such a dominant endows you with a wide range of expression. Human beings have one thousand facets and one thousand masks they wear according to circumstances and the fortunes of the game of life. You take the role of an observer who is avid for novelties, discoveries, and surprises. Everything catches your attention and becomes an opportunity for new encounters, relationships, and learning. The world amazes you, amuses you sometimes, and stimulates your curiosity. Because the most important thing is to discover, and because you consider that each new situation is packed with potentialities, you try to fill the gaps in your knowledge. Although your open-mindedness may scatter your centres of interest, it also enables you to carefully avoid sticking to only one immutable and rigid view. The slightest sign enables you to perceive the other side of the coin, as well as the infinite complexity of people and of situations. On the human plane, you seek the dialogue and the information without which you know that you are not able to fully grasp the nature of your interlocutor. This keen interest in the Unknown sharpens your inter-relational skills. All these qualities are traditionally associated with Mercury.
Interpretation of the 22� Aquarius symbolic degree
"A team of dogs pulls a carriage loaded with bottles of milk. By the river, a family of beavers build a dam." ( Janduz version)
Hard-working, careful, and discerning character. Teamwork is more profitable than solitary work, and mutual aid is a major asset. Despite many rivalries, success can be achieved in all occupations in the wood and construction industry, or in architecture. This degree warns against floods and fire. Before building anything, the nature of the soil must be carefully assessed by professionals.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Venus 9�15' Aquarius
Venus Aspects
Venus conjunction Saturn orb +5�57'
Venus bi-quintile Neptune orb -0�04'
Venus sextile Mars orb -5�43'
Planets: Venus
Venus represents the way one loves, relationships, sharing, affectivity, seductive ability. For men, she also corresponds to the kind of woman he's attracted to (but not especially in marriage which is more symbolized by the Moon, Venus is the lover and not the wife). Her element is the Air, she is moist, rules Taurus and Libra, is in exaltation in Pisces and is in analogy with the kidneys, the venous system, the bladder, the neck.
She represents the artists, tradesmen, occupations linked to beauty and charm; the age of Venus goes from 15 to about 25 years old.
Temperament : Sanguine and Lymphatic
Characterology : Emotive, non Active and Primary type or Emotive, non Active and Secondary type.
Venus in Aquarius
Venus describes your affective life. On the day of your birth, she is found in Aquarius. Your affectivity is expressed in an original form. You are sensitive to human matters and, at the same time, your need for independence prompts you to transform and to reinvent your sentimental life. In love, your attitude may surprise and disconcert your partner. But your capacity to amaze is also part of your charm. The ideal couple� All couples! For you, love can be but ideal, pure, elevated to the rank of a conniving, friendly and angelic relationship� You do not dream of a prodigious union based on a natural, cerebral, affective or sexual harmony. Therefore, you are an idealist. It is fine, but are you able to forgive the shortcomings that are inherent to all relationships? You possibly can, if you close your eyes and dream� Intransigence harms your affectivity. You need to admire your beloved one and to feel that you are close to each other, at the same time friends and lovers, and that you form a whole. You often forgive, until the day you open your eyes on your partner�s flaws � but who has none? You do not accept imperfections in your couple and delusions that are part of lasting loves. You have to face it: an angel cannot be angelic each and every moment!
Venus Dominant
If Venus is part of your natal chart's planetary dominants, in astrology, you are said to be a Venusian: you are a sensual and emotional person particularly receptive to the natural likes and dislikes aroused by your contact with people. You are prone to frequent instinctive aversions and true passions which are exclusively driven by the feeling of love. The heart has its reasons which Reason knows nothing of... Your balance is based on the richness of your affective life. Without love, the Venusian is resourceless, lost, and deprived of any reason for living. You have an obvious and strong will to charm and to arouse the attachments without which you cannot properly function. Every area of your life is thus marked by your affectivity. The danger is that you may "be taken in" by charm. In such cases, you would prefer to keep your emotions under better control. Thus, hyper-sensitivity has its own inconveniences. Nevertheless, better than anyone else, you know how to play with feelings and attractions. Although you are sometimes caught in the traps of an over sensitive emotionalism, feelings remain your best assets in many circumstances. There is another aspect to the Venusian dominant. According to the Tradition, this planet rules the Arts, and you are endowed with some degree of artistic dispositions, ranging from good to excellent.
Interpretation of the 9� Aquarius symbolic degree
"A man walks normally although his head and one of his hands seem separated from his body." ( Janduz version)
Immature and irresponsible character. A sudden separation from the parents during childhood is probably at the root of psychomotor and coordination problems, as well as of difficulties in taking charge of one's life properly. The presence of a devoted partner is necessary.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Mars 3�31' Aries
Mars Aspects
Mars conjunction Jupiter orb +3�08'
Mars square Neptune orb -0�20'
Mars square Uranus orb +4�01'
Venus sextile Mars orb -5�43'
Planets: Mars
Mars represents the desire for action and physical energy, sexuality, strength. For a woman, Mars corresponds to the kind of man she's attracted to (but not especially in marriage which is rather symbolized by the Sun, Mars is the lover, not the husband). Fire is its element, it is hot and dry, and it rules Aries and Scorpio (along with Pluto), is in exaltation with Capricorn and is in analogy with the muscles and the spleen.
It represents the soldiers, sportsmen, warriors, surgeons, blacksmiths... ; the age of Mars goes from 42 to 50 years old.
Temperament : Bilious
Characterology : Emotive, Active, Primary type. It is a Choleric.
Mars in Aries
The planet Mars indicates how you react to life concrete stimulations. It also describes your fighting spirit, your abilities to stand for yourself and to take action. With Mars in Aries, boldness and energy bring about successes and setbacks. Success in all enterprises requiring swift reactions and decisions, quick-mindedness. Setbacks in your relationships when emotionalism is stronger than reason. You react promptly when you face adversity. You need to live intensely and to take action in the here and the now, �on the spot�. Your offensive mind works wonders when the context requires fighting spirit. The danger is that your hasty actions may harm your long-terms interests. This configuration is double-edged, indeed�
Mars Dominant
If Mars is part of your natal chart's planetary dominants, in astrology, you are said to be a Marsian: in your hand-to-hand struggle for life, you demonstrate an acute and active sense of confrontation with the world, with other people, and with your own destiny. You need to take action and to fight for your projects and your desires. You perceive all situations with deep intensity, and you react to the here and now without bothering to step back in order to ensure that events are under your control. You take up challenges with excessive foolhardiness as a consequence of your impulsiveness. However, better than anyone else, you know how to mobilise your resources in case of crisis. You take action whenever it is necessary to do so, and you are present in a timely manner. With Mars, your attitudes are dictated by the realities of the moment, by your emotions, and by everything which proved to have worked in the past. When this dominant is not well integrated, it may bring about an aggressive or impulsive behaviour. Therefore, you must learn to control your hyper-sensitivity and your fits of temper. You are also endowed with Marsian qualities: the fighting spirit and the taste for duel without which one may find oneself overwhelmed by events. When this willpower is well channelled, its precious energy enables to cope with all sorts of contingencies. There are a thousand ways to win, and a thousand challenges to take up with the enthusiasm and the dynamism which make life so worthy. A certain idea of life which is wild, passionate, and in tune with events.
Interpretation of the 3� Aries symbolic degree
"A man takes a walk in a forest where many plants of various species grow. Another man with shaggy hair hides behind the shrubs." ( Janduz version)
Pragmatic, modest, and unsophisticated character. In spite of a great natural wisdom, one has no inclination for studies. One is driven by the sense of honour and by genuine generosity. The man hidden in the shrubs is not necessarily ill-intentioned. He may just be an original and independent person who prefers to remain out of the mainstream. In this lifetime, one can expect at least one major encounter which brings about crucial events, the positive or negative outcomes of which depend on the natal chart. All occupations related to security such as the police, the military, or the law are highly favoured. If in the natal chart, Mars is on this degree and forms hard aspects with the Sun and the Moon, he may portend a violent death.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Jupiter 0�22' Aries
Jupiter Aspects
Mars conjunction Jupiter orb +3�08'
Jupiter square Uranus orb +0�52'
Jupiter square Neptune orb +2�48'
Jupiter semi-square Saturn orb +0�10'
Planets: Jupiter
Jupiter represents expansion and power, benevolence, large vision and generosity. Its element is Air, it is hot and moist, and it rules Sagittarius and Pisces (along with Neptune), is in exaltation with Cancer and is in analogy with the hips and endocrinal system.
It represents the governors, magistrates, professors, religious men too; the age of Jupiter goes from 50 to 55 or even 70 years old.
Temperament : Sanguine
Characterology : Emotive, Active, Primary type; it is an extrovert Choleric. Actually the humid version of Mars, inclined to action like him.
Jupiter in Aries
The planet Jupiter symbolizes expansion, broadness and generosity. Jupiter is associated with the functions of synthesis, enthusiasm and optimism. In your natal chart, his house position is more important than his sign position because, like Saturn, Uranus, Neptune and Pluto, he is a slow planet. Many people born in the same period have Jupiter in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. Jupiter in Aries amplifies your tendency to charge ahead and your self-assertiveness. Your have leadership qualities, you are optimistic and you can mix the boldness with the will to succeed that are specific to Aries. Management ability, leadership and independence: your enthusiasm is a real asset for your life and for your charm!
Jupiter Dominant
If Jupiter is part of your natal chart's planetary dominants, in astrology, you are said to be a Jupiterian: because this planet brings about a keen interest in social and professional success, the Tradition considers it to be beneficial. Indeed, you know how to adjust to events and to jump at the chance when it arises. The members of you entourage gladly entrust you with high responsibilities because they are often impressed by your learning skills and your adaptation abilities as you deal with new structures and new languages. What is the secret of your good star? It is your self-confidence which wins public support. Now, what is the secret of your charm? Definitely, enthusiasm, euphoria, and exaltation. Exaggeration also. When this dominant is well integrated, it is a factor of affluence and optimism, and a certain degree of joviality enables you to easily fit into various spheres. It constitutes your main asset to manage your life. However, you must at times curb your desire for integration, lest your sense of opportunity turns into extreme opportunism. Here also, the key to success lies in a correct estimate of everyone's chances and possibilities. Although management is one of your forte, and you can adjust your objectives to current realities better than other people, you lack the hindsight which enables you to avoid short-term vagaries and daily fluctuations. If you strive too much to adapt, you run a risk of betraying yourself. This is the other traditional side of the coin with "The Greater Benefic"!
Interpretation of the 0� Aries symbolic degree
"A sturdy man wearing coarse animal skins or fabrics stands firmly on the ground with a cudgel in his hand. He seems prepared to respond to any danger." ( Janduz version)
Aggressive, tough, and passionate character well-equipped for facing life struggles. One is able to use physical strength as well as intellectual weapons, according to one's social background. One is mainly interested in life's materialistic aspects and protects efficiently one's rights and assets. Nevertheless, there is a potential danger of loss and/or lawsuit related to inheritance matters. One must be careful not to let temptations, whether sex, gambling, or any other passion, prevail over one's major goals. Indeed, this degree is associated with Hercules, a man who can achieve amazing feats, but who can also fall into the traps of seduction.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Saturn 15�12' Aquarius
Saturn Aspects
Venus conjunction Saturn orb +5�57'
Mercury conjunction Saturn orb +7�24'
Saturn trine Pluto orb +3�28'
Jupiter semi-square Saturn orb +0�10'
Saturn semi-square Uranus orb +0�42'
Moon bi-quintile Saturn orb +1�07'
Planets: Saturn
Saturn represents concentration, effort, perseverance, time, the hard reality, inevitable consequences. Earth is its element, it is cold and dry, and it rules Capricorn and Aquarius (along with Uranus), is in exaltation in Libra and is in analogy with the bones (skeleton) and the skin.
It represents the grandparents, old people, scientists, knowledgeable men, Saturn corresponds to old age; it goes from 70 years old until death.
Temperament : Nervous
Characterology : Non-Emotive, Active and Secondary type or Emotive, non Active and Secondary type or sometimes Non-Emotive, non Active and Secondary type; it is a Phlegmatic, a Sentimental or an Empathic type
Saturn in Aquarius
The planet Saturn symbolizes contraction, effort, time, limitation and concentration. Saturn eliminates anything that is not authentic, sooner or later. It is impossible to cheat him as he gives an irresistible desire to form a coherent whole with oneself, in responsible and wise ways. He is the great purifier. He represents our limitations but also our truth. In your natal chart, the house position where Saturn is posited is more important than his sign position because, like Jupiter, Uranus, Neptune and Pluto, he is a slow planet. Many people born in the same period have Saturn in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. Saturn in Aquarius endows you with the capacity to deliver in collective areas, humanitarian causes or avant-gardist projects. Your sensitivity is withdrawn but it is offset by your ability to handle human relationships in a daring and efficient way, which allows you to achieve your goals for the sake of a cause.
Saturn Dominant
If Saturn is part of your natal chart's planetary dominants, in astrology, you are said to be a Saturnian: you gladly leave to other people the decision to take life as it comes. As far as you are concerned, you prefer to take advantage of your experiences in order to discover, to grow, and to question yourself.
Interpretation of the 15� Aquarius symbolic degree
"A boat sets sail at full speed towards the sun rising at the horizon while on the shore, two men riding a unicorn and a sea dragon are watching." ( Janduz version)
Ambitious, enterprising, and nice character. Success, fame, and wealth can be achieved in the exploration of unknown territories and all kinds of journeys. One must be very careful in the selection of business partners because there is a danger of being taken advantage of, particularly by people who do not belong to the same social circle. This degree warns against possible swindles and violent death, whether one is the perpetrator or the victim.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Uranus 29�30' Sagittarius
Uranus Aspects
Jupiter square Uranus orb +0�52'
Uranus opposite Neptune orb -3�40'
Mars square Uranus orb +4�01'
Sun quintile Uranus orb +0�12'
Saturn semi-square Uranus orb +0�42'
Planets: Uranus
Uranus represents individual freedom, originality, independence, marginality, avant guard inspiration, ultra modernism. Fire is its element, it is dry, and it rules Aquarius, is in exaltation with Scorpio and is in analogy with the brain and the nerves.
It represents inventors, odd characters, revolutionaries.
Temperament : Nervous to the extreme
Characterology : Emotive, Active, Secondary type; it is a Passionate type.
Uranus in Sagittarius
The planet Uranus symbolizes originality, independence and cerebral energy bursting suddenly. Uranus triggers the irresistible need for freedom that we have in ourselves. Uranus tends to break the constraints that have become unbearable and gives us the courage and the will to get rid of what has become a burden; when he is well aspected, he also indicates genius.In your natal chart, Uranus� house position is more important than his sign position because, like Jupiter, Saturn, Neptune and Pluto, he is a slow planet. Many people born in the same period have Uranus in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. The sign positions of Uranus, Neptune and Pluto have a collective meaning. They do not influence your personality, unless they are involved in numerous aspects or when they emphasize a personal point of your natal chart such as your Ascendant�s ruler, an angular planet, i.e. a planet near the Ascendant, the Midheaven, the Nadir or the Descendant. In such cases, the activity of the slow planet is very highlighted. Uranus in Sagittarius gives you the taste for feats and extraordinary adventures: as you are caught in the desire to discover, at any cost, you may become a hero, a conqueror, an explorer or, on the symbolic plane, a pioneer in such matters as philosophy, politics, economy or spirituality.
Uranus Dominant
If Uranus is part of your natal chart's planetary dominants, in astrology, you are said to be a Uranian: personal values are prevailing. Inner certainties fuel an inflexible will and a desire to call attention on yourself as well as to follow your beliefs through. This planet prompts you to behave with determination, to put forward your own truth, and to start your personal revolution. More than other people, you are willing to keep some degree of autonomy in all circumstances, and you often display an individualistic nature. In order to achieve your ideal of freedom and independence, you may act like a despot as you try to convince and to impose your views, whether smoothly or forcefully. Regardless of the flexibility of your comportment, some situations demand an absolute firmness as well as uncompromising, frank and straightforward attitudes. People may criticise you for your intransigence and say that you are a hardliner. Outsider's opinions don't matter! The most important thing is that you act in all conscience and reach your primary objectives. More than anyone else, you know how to use your willpower and to focus your energy on a precise aim, relentlessly, whatever the consequences might be. In the chapter of qualities, let's mention a definite sense of responsibility, an innovative mind open to techniques and modern ideas, as well as a natural self-discipline which overcomes many an obstacle. Therefore, people are well-advised not to hound you into a corner.
Interpretation of the 29� Sagittarius symbolic degree
"In his forge, a blacksmith works on an anvil. Nearby, a spade is planted in the ground." ( Janduz version)
Secretive, intuitive, and independent character. One relies exclusively on one's great intellectual capacities and broad knowledge. The path chosen probably includes hardships and requires sustained efforts, time, and concentration. Success and wealth can be achieved in the iron and steel industry, the research of new alloys, or in archaeology.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Neptune 3�11' Я Cancer
Neptune Aspects
Mars square Neptune orb -0�20'
Uranus opposite Neptune orb -3�40'
Jupiter square Neptune orb +2�48'
Venus bi-quintile Neptune orb -0�04'
Sun trine Neptune orb -8�31'
Planets: Neptune
Neptune represents escapism, impressionability, daydreaming, delusions, carelessness, deception or intuition, dishonesty or inspiration, telepathy. Water is its element, it is moist, it rules Pisces, is in exaltation in Cancer, though some authors say it is Leo, and is in analogy with the vegetative system.
It represents dreamers, mediums, magicians, merchants of illusion, drug addicts.
Temperament : rather Lymphatic
Characterology : Emotive, non Active, Primary or Secondary type; it is a Sentimental, or sometimes Amorphous type.
Neptune in Cancer
The planet Neptune symbolizes extreme receptivity, intense emotional sharpness, impressionability and inspiration; it is the planet of mediums, mystics and religious faith. In an astrological chart, it indicates dilution, vagueness, understanding one�s environment through emotions and the absence of clear and determined limits and structures. In your natal chart, Neptune�s house position is more important than his sign position because, like Jupiter, Saturn, Uranus and Pluto, he is a slow planet. Many people born in the same period have Neptune in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. The sign positions of Uranus, Neptune and Pluto have a collective meaning. They do not influence your personality, unless they are involved in numerous aspects or when they emphasize a personal point of your natal chart such as your Ascendant�s ruler, an angular planet, i.e. a planet near the Ascendant, the Midheaven, the Nadir or the Descendant. In such cases, the activity of the slow planet is very highlighted. Neptune in Cancer increases tenfold your emotionalism and your natural nostalgia. Your musings are huge and fruitful. You are inspired and supported by your feelings. Your inner life is splendid.
Neptune Dominant
If Neptune is part of your natal chart's planetary dominants, in astrology, you are said to be a Neptunian: your intuition is highly developed. You are of a contemplative nature, and you are particularly receptive to ambiances, places, and people. You gladly cultivate the art of letting-go, and you allow the natural unfolding of events to construct your world. You follow your inspirations, for better or for worse. At times, you display an extraordinary clairvoyance gift. You seem to be able to read your subconscious like a book, and you track down subtle underlying mechanisms, flaws, or open breaches. This innate intuition might explain the strokes of good luck which the Neptunian is sometimes credited with. However, you may also be the victim of illusions and misleading intuitions. You are an idealist, and you let your deepest aspirations prevail over the realities of the moment. Then, you set off in quest of some quixotic objective, living like a Don Quixote who relentlessly pursues an impossible dream. You have a great talent for psychology and the mysteries of the human soul. Since you instinctively perceive people's intents and motivations, as you swim in the complexity of human nature, you feel in your element. The subtlety of your perceptiveness is the source of both special affections and irrevocable rejections. What is the danger of such a dominant? If it is not offset by other influences in your natal chart, you may not have an iron will. Your trump card is your instinct, which may be developed to the extent that it becomes clairvoyance.
Interpretation of the 3� Cancer symbolic degree
"After dinner, leftovers are still on the table, violins are put aside, and guests flirt." ( Janduz version)
Materialistic, sensual, and generous character. One is attracted to the beauties and dangers of life. Passionate impulses, probably an adulterous relationship, may disrupt marital ties. This degree favours the career and indicates that one reaches a powerful position, provided that one keeps sensual instincts under control.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
Pluto 18�41' Я Gemini
Pluto Aspects
Moon square Pluto orb +1�23'
Saturn trine Pluto orb +3�28'
Mercury trine Pluto orb -3�55'
Sun square Pluto orb +6�58'
Planets: Pluto
Pluto represents deep transformations, mutations and eliminations, sexuality and magnetism, power and secrets, destruction with a view to regeneration, the phoenix rising from the ashes. Its element is indefinite; burning (like lava in fusion ?), it rules Scorpio, is in exaltation in Pisces and is in analogy with the sexual organs and excretion.
It represents dictators, sadistic people, violent characters, is instinctive and powerful but also mysterious with hidden strengths.
Temperament : rather Bilious
Characterology : Emotive or non-Emotive, Active, Primary type; it is a Passionate Choleri typec.
Pluto in Gemini
The planet Pluto symbolizes deep disruptions and upheavals, domination and sexual instincts, and the inner power we have in ourselves. Pluto destroys in order to reconstruct and he provokes painful crises that are needed in metamorphosis. Pluto is our deepest instincts� brutal force. It is the hidden and unconscious violence that can explode in us with incredible intensity before being projected in our actions; in itself, the planet is not negative: the might and the intensity of its energy are beyond the conceivable but it can be funnelled. Pluto is the only possibility we have at our disposal to overcome our inner blocks and to eliminate outgrown situations that have become inextricable. Pluto�s energy is valuable because of its usefulness for the irreversible destruction of what constitutes a problem and not because of its negative side and its perversity. Pluto allows to reconstruct and to regenerate parts of our personality or whole stretches of our life, provided that we manage to funnel his wild energy and to step back. It is impossible to tame this energy, given its essence. However, it is possible to take advantage of it for a precise aim, through a temporary identification of some parts of us with this energy. In such a case, the outcome is our final evolution and even, our transformation. In your natal chart, Pluto�s house position is more important than his sign position because, like Jupiter, Saturn, Uranus and Neptune, Pluto is a slow planet. Many people born in the same period have Pluto in the same sign. This is the reason why the sign occupied here is less meaningful than when it is occupied by the so-called fast planets, i.e. the Sun, the Moon, Mercury, Venus and Mars. Therefore, some caution is to be exercised as you read what follows. The sign positions of Uranus, Neptune and Pluto have a collective meaning. They do not influence your personality and they are not to be really taken into account, unless they are involved in numerous aspects or when they emphasize a personal point of your natal chart such as your Ascendant�s ruler, an angular planet, i.e. a planet near the Ascendant, the Midheaven, the Nadir or the Descendant. In such cases, the activity of the slow planet is very highlighted. Pluto in Gemini may give your communication a caustic and domineering style.
Pluto Dominant
If Pluto is part of your natal chart's planetary dominants, in astrology, you are said to be a Plutonian: you sometimes feel like a foreigner who does not belong to the world, to its laws, and its concerns. The rules of life in society are not necessarily yours. You are interested in what is unknown and in the subtle laws of a hidden order. So, you take malicious pleasure in ridiculing the patterns you find too simplistic or too rigid. You also revel in underlining the limits of explanations you deem too common. There is something unconventional about the way you are, the way you think, and the way you act. What is your specificity made of? Is it an extraordinary partner? A life off the beaten path? Or do you only distance yourself from conventional morals? In any case, you have the feeling, sometimes quite vague, that you come from nowhere, and that you do not belong to any definite group... In short, it means that you cannot be simplified in order to conform to existing models. The gap between you and ordinary mortals is also an element of your strength. Your deep clear-sightedness, firstly, enables you to put things into perspective and to grant them only the attention they deserve. Your other remarkable asset is your capacity to intervene from behind the scenes, to secretly organise events, and to bring about the desirable outcome without seeming to impose or to dictate anything. However, you must still overcome one of the major difficulties of this dominant, which is to get people to accept your difference and to smoothly fit into your environment.
Interpretation of the 18� Gemini symbolic degree
"A wretched man courageously leaves his beautiful mansion behind him. His wife, in a lavish dress, follows him with deep regret and looks back at their former abode." ( Janduz version)
Unless the natal chart strongly indicates otherwise, this degree heralds that years of prosperity are followed by ruin and destitution.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
If you wish, you can receive immediately in your mailbox your detailed astrological portrait , a nice gift for yourself or for your close friends and relatives, who will deeply appreciate it.
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Asteroids: Chiron
Chiron is almost renowned and used everywhere. Most astrologers consider it as a kind of "mediator" between Saturn and outer planets. Consequently, Chiron is of Saturn's nature and at the same time is influenced by Uranus, the first slow-moving planet. Astrologically, it symbolizes wisdom, patience and the faculty to reduce others' sufferings: it is said to be the "great healer" of the zodiac. Like all the secondary bodies, it must be in close conjunction with planets or angles in order to fully express its action.
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Asteroids: Ceres
Ceres, the biggest of the four minor asteroids used besides Chiron, is associated with the mythological goddess of growing plants and harvest and also symbolizes physical constitution, vitality and fertility. She's also known as Demeter, according to the astrologer Zipporah Dobyns, linked to the symbolism of the mother but in a less emotive and more physical way than the Moon. Ceres is thought to be the ruler of Virgo, in exaltation in Gemini, in exile in Pisces and in fall in Sagittarius. Keywords associated with Ceres could be order, practical sense, worry, precision, modesty, method, sobriety, motherhood, fertility, the Earth: a kind of a more cerebral Moon...
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Asteroids: Pallas
Pallas is sometimes used in modern Astrology: she represents intelligence, abstract and global thinking talents. It is usually considered to be a determining element in political strategy.
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Asteroids: Juno
Juno is the asteroid corresponding to the adaptation to the marital partner and to the defence of individual rights; it is thus used in the field of marriage.
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Vesta is rarely used and brings the ability to efficiently devote oneself to a cause.
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True North Node 27�29' Я Virgo
North Node
The North Node (True Node here) represents the goals that must be achieved during life, in the karmic sense according to some traditions. Its position in house indicates in what field an effort is necessary in order to evolve. The North Node is often called the Dragon's head, it is usually considered beneficial, a bit like Jupiter with the planets. The Lunar nodes are fictional points and not actual heavenly bodies: they are the intersections of the Moon with the Ecliptic (the path made by the Sun in its orbit as seen from the Earth). The axis of the Lunar nodes moves 19 degrees each year, namely a bit more than three minutes each day.
The South Node is diametrically opposed to the North Node, therefore it faces it (it's not drawn here, it's the same symbol but upside down). It symbolizes what has already been achieved or acquired, in a karmic sense: it's the past from which it's advised to move on in order to progress. The South Node is rather negative, of a Saturnian nature: the experience through suffering.
Interpretation of the 27� Virgo symbolic degree
"Behind an orange tree loaded with beautiful fruits, a nice lawn with many birds is surrounded by rosebushes." ( Janduz version)
Generous, hardworking, and organised character endowed with sharp intelligence. Family ties and friends are very important. Much attention is paid not only to the family's comfort, but also to other people's needs. Success is achieved thanks to one's personal qualities. Everything needed for one's happiness and peace of mind is readily available. This degree indicates that, if one belongs to a rich family, one knows how to properly use one's wealth without squandering it. If one is of modest origins, one improves one's social status and becomes wealthy.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
True Lilith 0�07' Я Pisces
Lilith
Lilith or the Dark Moon (True Lilith here) represents the uncrossable threshold, taboos, the individual's provocative and fascinating side, including on a sexual level. She symbolizes violence and "untameability", the radical and deep-seated refusal to submit. The keywords for Lilith can be sterility, sadism, perversity, castration, sadomasochism, eroticism, orgasm, forbidden fantasies, marginality, cruelty; redemption, illumination, rebelliousness... Lilith's opposite point is called Priapus; it is the Lunar perigee, the position where the Moon is closest to the Earth. It symbolizes man's primitive nature, the horror hidden in our deepest self; masochism, extreme sensuality, impulsiveness, irrationality and excess. Physically speaking, the Dark Moon is the focal point unoccupied by the Earth: it is not a concrete body but a mathematical point.
Interpretation of the 0� Pisces symbolic degree
"A human being, half-male and half-female, stands in front of an office door. Nearby, a young couple is about to take place at a table where a sumptuous meal is served." ( Janduz version)
Pleasant, sociable, and loyal character. One always readily adjusts to the members of one's entourage in order to create harmonious living conditions. This applies particularly to conjugal life. One can achieve success in business or in the arts. Associations are highly favoured because, as symbolised by the first personage of the image, one knows perfectly well how to blend opposite elements and turn them into complementary assets.
N.B.: symbolic degrees belong to a branch of fatalistic astrology. Their interpretation must be regarded with the utmost caution, especially given the fact that different authors give different meanings to symbolic degrees. This is the reason why they are not included in our Astrotheme reports.
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Part of Fortune
The Part of Fortune is an ancient concept, used by Ptolemy and other astrologers before him. Firstly, it has nothing to do with fortune! In modern astrology, it is actually used to enhance a planet or angle when in close conjunction with it: it thus amplifies the meaning associated to the point affected by its presence. It is calculated in the following way:
Part of Fortune = AS + Moon - Sun (it is the Moons position when the Sun rises)
The classical Part of Fortune, of which the calculus method is unchanged whether in a diurnal or nocturnal chart, is usually distinguished from the diurnal/nocturnal Part of Fortune which is calculated by the formula AS + Sun - Moon for a nocturnal chart, and AS + Moon - Sun in a diurnal chart.
We currently use the latter formula for our astrological programmes.
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Ascendant or House I
The First House or Ascendant represents one's behaviour in the eyes of others, and also one's health. It corresponds to the way the individual acts in the world. It is the image of the personality seen by others and the person's visible behaviour expressed outwardly. The 1st House is in analogy with Aries and thus Mars too, and then the Sun. It is an angular house, the most important one with the Midheaven, maybe even more so due to its link with the body and health.
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Midheaven or House X
The Tenth House still called the Midheaven, is the highest point amidst the houses, at the top of the chart, in the South, and relates to destiny in general and career (and not daily work as meant by the Sixth House). The Midheaven represents our achievements and goals in the social sphere, our social position in society, and becomes more and more important as we get older. It is in analogy with Capricorn and Saturn. The Tenth House is the most important angular house along with the Ascendant.
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House I (AC)
The First House or Ascendant represents one's behaviour in the eyes of others and also one's health. It corresponds to the way the individual acts in the world. It is the image of the personality as seen by others and the person's visible behaviour expressed outwardly. The 1st House is in analogy with Aries and thus Mars too and then the Sun. It is an angular house, the most important one with the Midheaven, maybe even more so due to its link with the body and health; the Ascendant is as important as the Sun in a natal chart.
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House II
The Second House is the sphere of material security, the money we earn, our possessions, also in a symbolic meaning (close people etc). It is in analogy with Taurus and Venus. It is a succedent house, quite important.
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House III
The Third House is the sphere of social and intellectual apprenticeship, studies, relationships with close people and surroundings, short trips, light-hearted and quick contacts, correspondences. It is in analogy with Gemini and Mercury. It's a cadent house, less important than the angular and succedent ones.
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House IV (IC)
The Fourth House also called Immum Coeli is the sphere of inner emotions, family, the father, home and roots, but also the home one creates. It's Home Sweet Home, security and cocoon. It is in analogy with Cancer and the Moon. It's an angular and important house.
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House V
The Fifth House is the sphere of pleasures and love affairs (but not commitment or marriage), creations and entertainments, children, arts and game. It is in analogy with Leo and the Sun. It's a succedent and quite important house.
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House VI
The Sixth House is the sphere of apprenticeship and effort in the work environment, daily life, health on a daily basis and not operations or long-term diseases, relationships with co-workers or subordinates, desire for improvement, analysis and detail. It is in analogy with Virgo and Mercury. It is a cadent house, less important than the angular and succedent ones.
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House VII (DS)
The Seventh House also called the Descendant (in front of the Ascendant) is the sphere of partnership, marriage, contracts, relationships with others, the outer world. It is in analogy with Libra and Venus, and Saturn to a lesser extent. It is an angular and important house.
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House VIII
The Eighth House is the sphere of emotional security, the depths of the self, secrets and paranormal, transcendence, sexuality, mysteries, upheavals, surgical operations, others' money (investments, inheritances), crises, transformation after evolution, death. It is in analogy with Scorpio and Pluto, and Mars to a lesser extent. It is a succedent and quite important house.
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House IX
The Ninth House is the sphere of high studies, both physical and mental journeys (philosophy, spirituality), rebelliousness, changes of scenery, desire for dealing with the unknown. It is in analogy with Sagittarius and Jupiter. It is a cadent house, less important than the angular and succedent ones.
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House X (MC)
The Tenth House still called the Midheaven, is the highest point amidst the houses, at the top of the chart, in the South, and relates to destiny in general and career (and not daily work as meant by the Sixth House). The Midheaven represents our achievements and goals in the social sphere, our social position in society, and becomes more and more important as we get older. It is in analogy with Capricorn and Saturn. The Tenth House is the most important angular house along with the Ascendant.
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House XI
The Eleventh House is the sphere of friendship and protection, projects, search for social acceptance and security, collective and humanitarian actions. It is in analogy with Aquarius and Uranus, and Saturn to a lesser extent. It's a succedent and quite important house.
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House XII
The Twelfth House is the sphere of hidden things, enemies, closed or remote places (hospital, prison, convent etc.), ordeals, secrecy, solitude, long-term illnesses but also sincere devotion and genuine compassion. It is in analogy with Pisces and Neptune.
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The Vertex
The Vertex, sometimes called counter-Ascendant, is a fictitious point which is at the intersection of two great circles, the Ecliptic and the great vertical circle (Prime Vertical) in the West of the birthplace, linking the East, the Zenith, the West, and the Nadir. It is always located in the West of the chart around the Descendant. It is the chart's fifth angle, so to speak, less important than the other angles. Its interpretation is controversial, because certain astrologers pay no attention to it.
The Vertex is sometimes considered to be the second Descendant because, like the latter, it is related to communication and exchanges. It has to do with associations and fated encounters, those that are not chosen, and reveals the type of sensitivity and reactivity we have in our dealings with other people: a refined and tolerant way in Libra, straightforward and spontaneous in Aries, etc.
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The East Point
The East Point is a fictitious point at the intersection of two great circles, the Ecliptic and the great vertical circle (Prime Vertical) in the East of the birthplace, linking the East, the Zenith, the West, and the Nadir. It is always located in the East of the chart, around the Ascendant.
The East Point is sometimes considered to be a second Ascendant, less important, but also related to how one is seen by other people, and to how one expresses one's personality.
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Cupido
Cupido is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Cupido, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
On the upside, Cupido is related to socialisation, the arts, and marital life. On the downside, it indicates vanity, addiction to pleasures, and being strongly influenced by groups of people.
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Hades
Hades is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Hades, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Hades corresponds to intellectual rigour, service rendered to people, the purpose of being useful. On the downside; it leads to carelessness, indifference, apathy, and mess.
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Zeus
Zeus is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Zeus, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Zeus is related to creativity, as well as to organisational and leadership capacities. On the downside, it may lead to aggressiveness and to excessive militancy.
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Kronos
Kronos is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Kronos, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Kronos is related to authority and cleverness. In tough aspect, it may make the person conceited, presumptuous, or elitist.
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Apollon
Apollon is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Apollon, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Apollon is related to the ability to synthesise, as well as to broad-mindedness, and fame. In difficult aspect, it may bring about superficiality or extravagance.
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Admetos
Admetos is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Admetos, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Admetos is related to the deepness of the mind, asceticism, simplicity, and analytical mind. In tough aspect, it may make the person nit-picking, inflexible, and narrow-minded.
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Vulcanus
Vulcanus is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Vulcanus, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Vulcanus, sometimes said to be the higher octave of Saturn, provides strength to improve collective relations, to structure things, to be efficient, and to get straight to the point. On the downside, he may bring about arrogance and scattered efforts.
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Poseidon
Poseidon is a hypothetical trans-Neptunian planet, the existence of which is not proven. It was invented by Alfred Witte, founder of the famous Hamburg School, and by his student, Friedrich Sieggrün. N.B.: numerous astrologers believe neither in the influence of Poseidon, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Poseidon brings about wisdom, a clear mind, and sometimes spirituality. On the downside, it may make the person dogmatic, manipulative, or out of touch with reality.
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Proserpina
Proserpina, sometimes referred to as Persephone, is a trans-Plutonian hypothetical planet. N.B.: numerous astrologers believe neither in the influence of Proserpina, nor in that of all hypothetical planets, asteroids, Arabic parts or other fictitious points.
Proserpina is related to mysteries, revival and reconstruction, as well as cycles. She enriches the unconscious, and gives the possibility to combine modern life with spirituality, the East with the West, and mysticism with concrete life.
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Biography of Dr. Seuss
Theodor Seuss Geisel (pronounced /ˈɡaɪzəl/; March 2, 1904 in Springfield, Massachusetts � September 24, 1991) was an American writer and cartoonist most widely known for his children's books written under the pen name Dr. Seuss. He published over 60 children's books, which were often characterized by imaginative characters, rhyme, and frequent use of trisyllabic meter. His most celebrated books include the bestselling Green Eggs and Ham, The Cat in the Hat, and One Fish Two Fish Red Fish Blue Fish. Numerous adaptations of his work have been created, including eleven television specials, three feature films, and a Broadway musical.
Geisel also worked as an illustrator for advertising campaigns, most notably for Flit and Standard Oil, and as a political cartoonist for PM, a New York City newspaper. During World War II, he worked in an animation department of the U.S Army, where he wrote Design for Death, a film that later won the 1947 Academy Award for Documentary Feature.
Read Across America is an initiative on reading created by the National Education Association. One part of the project is National Read Across America Day, an observance in the United States held on March 2, the birthday of Dr. Seuss.
Early life and career
Theodor Seuss Geisel was born in Springfield, Massachusetts to Henrietta Seuss and Theodor Robert Geisel. His father, the son of German immigrants, inherited the family brewery one month before the start of Prohibition and later supervised Springfield's public park system and zoo. Geisel was raised in the Lutheran faith and remained a member of the denomination his entire life.
Geisel attended Springfield's Central High School and entered Dartmouth College in fall 1921 as a member of the Class of 1925 and joined Sigma Phi Epsilon fraternity. At Dartmouth, Geisel joined the humor magazine Dartmouth Jack-O-Lantern, eventually rising to the rank of editor-in-chief.
While at Dartmouth, Geisel was caught drinking gin with nine friends in his room, violating national Prohibition laws of the time. As a result, the school insisted that he resign from all extracurricular activities, including the college humor magazine. To continue work on the Jack-O-Lantern without the administration's knowledge, Geisel began signing his work with the pen name "Seuss." His first work signed as "Dr. Seuss" appeared after he graduated, six months into his work for humor magazine The Judge where his weekly feature Birdsies and Beasties appeared. Geisel was encouraged in his writing by professor of rhetoric W. Benfield Pressey, whom he described as his "big inspiration for writing" at Dartmouth.
After Dartmouth, he entered Lincoln College, Oxford, intending to earn a Doctor of Philosophy in English literature. At Oxford, he met his future wife Helen Palmer; he married her in 1927, and returned to the United States without earning a degree.
He began submitting humorous articles and illustrations to Judge, The Saturday Evening Post, Life, Vanity Fair, and Liberty. One notable "Technocracy Number" made fun of the Technocracy movement and featured satirical rhymes at the expense of Frederick Soddy. He became nationally famous from his advertisements for Flit, a common insecticide at the time. His slogan, "Quick, Henry, the Flit!" became a popular catchphrase. Geisel supported himself and his wife through the Great Depression by drawing advertising for General Electric, NBC, Standard Oil, and many other companies. In 1935, he wrote and drew a short-lived comic strip called Hejji.
In 1937, while Geisel was returning from an ocean voyage to Europe, the rhythm of the ship's engines inspired the poem that became his first book, And to Think That I Saw It on Mulberry Street. Geisel wrote three more children's books before World War II, two of which are, atypically for him, in prose.
As World War II began, Geisel turned to political cartoons, drawing over 400 in two years as editorial cartoonist for the left-wing New York City daily newspaper, PM. Geisel's political cartoons, later published in Dr. Seuss Goes to War, opposed the viciousness of Hitler and Mussolini and were highly critical of isolationists, most notably Charles Lindbergh, who opposed American entry into the war. One cartoon depicted all Japanese Americans as latent traitors or fifth-columnists, while at the same time other cartoons deplored the racism at home against Jews and blacks that harmed the war effort. His cartoons were strongly supportive of President Roosevelt's conduct of the war, combining the usual exhortations to ration and contribute to the war effort with frequent attacks on Congress (especially the Republican Party), parts of the press (such as the New York Daily News, Chicago Tribune and Washington Times-Herald), and others for criticism of Roosevelt, criticism of aid to the Soviet Union, investigation of suspected Communists, and other offenses that he depicted as leading to disunity and helping the Nazis, intentionally or inadvertently.
In 1942, Geisel turned his energies to direct support of the U.S. war effort. First, he worked drawing posters for the Treasury Department and the War Production Board. Then, in 1943, he joined the Army and was commander of the Animation Dept of the First Motion Picture Unit of the United States Army Air Forces, where he wrote films that included Your Job in Germany, a 1945 propaganda film about peace in Europe after World War II, Our Job in Japan, and the Private Snafu series of adult army training films. While in the Army, he was awarded the Legion of Merit. Our Job in Japan became the basis for the commercially released film, Design for Death (1947), a study of Japanese culture that won the Academy Award for Documentary Feature. Gerald McBoing-Boing (1950), which was based on an original story by Seuss, won the Academy Award for Animated Short Film.
Later years
After the war, Geisel and his wife moved to La Jolla, California. Returning to children's books, he wrote many works, including such children's favorites as If I Ran the Zoo, (1950), Scrambled Eggs Super! (1953), On Beyond Zebra! (1955), If I Ran the Circus (1956), and How the Grinch Stole Christmas! (1957). Although he received numerous awards throughout his career, Geisel won neither the Caldecott Medal nor the Newbery Medal. Three of his titles from this period were, however, chosen as Caldecott runners-up (now referred to as Caldecott Honor books): McElligot's Pool (1947), Bartholomew and the Oobleck (1949), and If I Ran the Zoo (1950). Dr Seuss also wrote the musical and fantasy film The 5,000 Fingers of Dr. T., which was released in 1953 . The film was a critical and financial failure, and would be the only feature film ever written by Dr. Seuss. At the same time, an important development occurred that influenced much of Geisel's later work. In May 1954, Life magazine published a report on illiteracy among school children, which concluded that children were not learning to read because their books were boring. Accordingly, William Ellsworth Spaulding, a textbook editor at Houghton Mifflin who later became its Chairman, compiled a list of 348 words he felt were important for first-graders to recognize and asked Geisel to cut the list to 250 words and write a book using only those words. Spaulding challenged Geisel to "bring back a book children can't put down." Nine months later, Geisel, using 236 of the words given to him, completed The Cat in the Hat. This book was a tour de force�it retained the drawing style, verse rhythms, and all the imaginative power of Geisel's earlier works, but because of its simplified vocabulary could be read by beginning readers. These books achieved significant international success and they remain very popular.
Geisel went on to write many other children's books, both in his new simplified-vocabulary manner (sold as Beginner Books) and in his older, more elaborate style. The Beginner Books were not easy for Geisel, and reportedly he labored for months crafting them.
On October 23, 1967, suffering from a long struggle with illnesses including cancer, Geisel's wife, Helen Palmer Geisel, committed suicide. Geisel married Audrey Stone Dimond on June 21, 1968. Though he devoted most of his life to writing children's books, Geisel never had any children. He would say, when asked about this, "You have 'em; I'll entertain 'em."
Death and posthumous honors
Geisel died, following several years of illness, in San Diego, California. He was cremated and his ashes were scattered. On December 1, 1995, four years after his death, UCSD's University Library Building was renamed Geisel Library in honor of Geisel and Audrey for the generous contributions they made to the library and their devotion to improving literacy.
While living in La Jolla, Geisel was frequently confused by the United States Postal Service and others with another La Jolla resident, Dr. Suess (Hans Suess). Their names have been linked together posthumously: the personal papers of Hans Suess are housed in the Geisel Library at UC San Diego.
In 2002, the Dr. Seuss National Memorial Sculpture Garden opened in his birthplace of Springfield, Massachusetts; it features sculptures of Geisel and of many of his characters. On May 28, 2008, California Governor Arnold Schwarzenegger and First Lady Maria Shriver announced that Geisel would be inducted into the California Hall of Fame, located at The California Museum for History, Women and the Arts. The induction ceremony took place December 15 and his widow Audrey accepted the honor in his place. On March 2, 2009, the web search engine Google temporarily changed its logo to commemorate Geisel's birthday (a practice it often follows for various holidays and events). At his alma mater, Dartmouth, where over 90% of incoming first-year students participate in pre-registration Dartmouth Outing Club trips into the New Hampshire wilderness, it is traditional for students returning from the trips to overnight at Dartmouth's Moosilauke Ravine Lodge, where they are served green eggs and ham for breakfast in honor of Dr. Seuss.
Pen names and pronunciations
Geisel's pen name is regularly pronounced /ˈsuːs/ or /ˈsjuːs/, an anglicized pronunciation inconsistent with his German surname. He himself noted that it rhymed with "voice" (his own pronunciation being /soɪs/) and Alexander Liang (his collaborator on the Dartmouth Jack-O-Lantern) wrote of him:
You�re wrong as the deuce
And you shouldn�t rejoice
If you�re calling him Seuss.
He pronounces it Soice.
Geisel switched to the anglicized pronunciation from German because it "evoked a figure advantageous for an author of children�s books to be associated with�Mother Goose."
For books that Geisel wrote and others illustrated, he used the pen name "Theo. LeSieg" ("Geisel" spelled backwards).
Political views
Dr. Seuss was a veteran. Geisel's early political cartoons show a passionate opposition to fascism, and he urged Americans to oppose it, both before and after the entry of the United States into World War II. His cartoons tended to regard the fear of communism as overstated, finding the greater threat in the Dies Committee and those who threatened to cut America's "life line" to Stalin and Soviet Russia, the ones carrying "our war load".
Geisel's cartoons also called attention to the early stages of the Holocaust and denounced discrimination in America against African Americans and Jews. Geisel himself experienced anti-semitism: in his college days, he was refused entry into certain circles because of a misperception that he was Jewish (he was in fact a practicing Lutheran).
However, Geisel supported the Japanese American internment during World War II. His treatment of the Japanese and of Japanese Americans, whom he often failed to differentiate between, has struck many readers as a moral blind spot. On the issue of the Japanese, he is quoted as saying:
But right now, when the Japs are planting their hatchets in our skulls, it seems like a hell of a time for us to smile and warble: "Brothers!" It is a rather flabby battle cry. If we want to win, we�ve got to kill Japs, whether it depresses John Haynes Holmes or not. We can get palsy-walsy afterward with those that are left.
�Theodor Geisel, quoted in Dr. Seuss Goes to War, by Dr. Richard H. Minear
Cartoon of John Haynes Holmes. By Dr.Seuss
After the war, though, Geisel was able to end his feelings of animosity, using his book Horton Hears a Who (1954) as an allegory for the American post-war occupation of Japan, as well as dedicating the book to a Japanese friend.
In 1948, after living and working in Hollywood for years, Geisel moved to La Jolla, California. It is said that when he went to register to vote in La Jolla, some Republican friends called him over to where they were registering voters, but Geisel said, "You, my friends, are over there, but I am going over here ."
In his books
Though Geisel made a point of not beginning the writing of his stories with a moral in mind, stating that "kids can see a moral coming a mile off", he was not against writing about issues; he said "there's an inherent moral in any story" and remarked that he was "subversive as hell".
Many of Geisel's books are thought to express his views on a myriad of social and political issues: The Lorax (1971), about environmentalism and anti-consumerism; The Sneetches (1961), about racial equality; The Butter Battle Book (1984), about the arms race; Yertle the Turtle (1958), about anti-fascism and anti-authoritarianism; How the Grinch Stole Christmas! (1957), about anti-materialism; and Horton Hears a Who! (1954), about anti-isolationism and internationalism. Shortly before the end of the 1972�1974 Watergate scandal, in which United States president Richard Nixon resigned, Geisel converted one of his famous children's books into a polemic. "Richard M. Nixon, Will You Please Go Now!" was published in major newspapers through the column of his friend Art Buchwald.
Although Geisel never made any explicit or implicit mention of the abortion debate in his books, the line "A person's a person, no matter how small!!" from Horton Hears a Who! has grown, over the objections of his widow, into widespread use on the pro-life side of the issue.
Poetic meters
Geisel wrote most of his books in anapestic tetrameter, a poetic meter employed by many poets of the English literary canon. This characteristic style of writing, which draws and pulls the reader into the text, is often suggested as one of the reasons that Geisel's writing was so well-received.
Anapestic tetrameter consists of four rhythmic units, anapests, each composed of two weak beats followed by one strong beat; often, the first weak syllable is omitted, or an additional weak syllable is added at the end. An example of this meter can be found in Geisel's "Yertle the Turtle", from Yertle the Turtle and Other Stories:
"And today the Great Yertle, that Marvelous he
Is King of the Mud. That is all he can see."
Geisel generally maintained this rhythm quite strictly, but in his later career somewhat relaxed this tendency. The consistency of his meter was one of his hallmarks; the many imitators and parodists of Geisel are often unable to write in strict anapestic tetrameter, or are unaware that they should, and thus sound clumsy in comparison.
Some books by Geisel that are written mainly in anapestic tetrameter also contain many lines written in amphibrachic tetrameter, such as these from If I Ran the Circus:
"All ready to put up the tents for my circus.
I think I will call it the Circus McGurkus.
"And NOW comes an act of Enormous Enormance!
No former performer's performed this performance!"
Geisel also wrote verse in trochaic tetrameter, an arrangement of a strong beat followed by a weak beat, with four units per line (for example, the title of One Fish Two Fish Red Fish Blue Fish). The formula for trochaic meter permits the final weak position in the line to be omitted, which facilitates the construction of rhymes.
Geisel generally maintained trochaic meter only for brief passages, and for longer stretches typically mixed it with iambic tetrameter, which consists of a weak beat followed by a strong, and is generally considered easier to write. Thus, for example, the magicians in Bartholomew and the Oobleck make their first appearance chanting in trochees (thus resembling the witches of Shakespeare's Macbeth):
"Shuffle, duffle, muzzle, muff"
then switch to iambs for the oobleck spell:
"Go make the Oobleck tumble down
On every street, in every town!"
Artwork
Geisel's earlier artwork often employed the shaded texture of pencil drawings or watercolors, but in children's books of the postwar period he generally employed the starker medium of pen and ink, normally using just black, white, and one or two colors. Later books such as The Lorax used more colors.
Geisel's figures are often rounded and somewhat droopy. This is true, for instance, of the faces of the Grinch and of the Cat in the Hat. It is also true of virtually all buildings and machinery that Geisel drew: although these objects abound in straight lines in real life, for buildings, this could be accomplished in part through choice of architecture. For machines, for example, If I Ran the Circus includes a droopy hoisting crane and a droopy steam calliope.
Geisel evidently enjoyed drawing architecturally elaborate objects. His endlessly varied (but never rectilinear) palaces, ramps, platforms, and free-standing stairways are among his most evocative creations. Geisel also drew elaborate imaginary machines, of which the Audio-Telly-O-Tally-O-Count, from Dr. Seuss's Sleep Book, is one example. Geisel also liked drawing outlandish arrangements of feathers or fur, for example, the 500th hat of Bartholomew Cubbins, the tail of Gertrude McFuzz, and the pet for girls who like to brush and comb, in One Fish Two Fish.
Geisel's images often convey motion vividly. He was fond of a sort of voil� gesture, in which the hand flips outward, spreading the fingers slightly backward with the thumb up; this is done by Ish, for instance, in One Fish Two Fish when he creates fish (who perform the gesture themselves with their fins), in the introduction of the various acts of If I Ran the Circus, and in the introduction of the Little Cats in The Cat in the Hat Comes Back. He was also fond of drawing hands with interlocked fingers, which looked as though the character was twiddling their thumbs.
Geisel also follows the cartoon tradition of showing motion with lines, for instance in the sweeping lines that accompany Sneelock's final dive in If I Ran the Circus. Cartoonist's lines are also used to illustrate the action of the senses (sight, smell, and hearing) in The Big Brag and even of thought, as in the moment when the Grinch conceives his awful idea.
Recurring images
Geisel's early work in advertising and editorial cartooning produced sketches that received more perfect realization later in the children's books. Often, the expressive use to which Geisel put an image later on was quite different from the original.
* An editorial cartoon of July 16, 1941 depicts a whale resting on the top of a mountain, as a parody of American isolationists, especially Charles Lindbergh. This was later rendered (with no apparent political content) as the Wumbus of On Beyond Zebra (1955). Seussian whales (cheerful and balloon-shaped, with long eyelashes) also occur in McElligot's Pool, If I Ran the Circus, and other books.
* Another editorial cartoon from 1941 shows a long cow with many legs and udders, representing the conquered nations of Europe being milked by Adolf Hitler. This later became the Umbus of On Beyond Zebra.
* The tower of turtles in a 1942 editorial cartoon prefigures a similar tower in Yertle the Turtle. This theme also appeared in a Judge cartoon as one letter of a hieroglypic message, and in Geisel's short-lived comic strip Hejji. Geisel once stated that Yertle the Turtle was Adolf Hitler.
* Little cats A B and C (as well as the rest of the alphabet) who spring from each other's hats appeared in a Ford ad.
* The connected beards in Did I Ever Tell You How Lucky You Are? appear frequently in Geisel's work, most notably in Hejji, which featured two goats joined at the beard, The 5000 Fingers of Dr. T, which featured two roller-skating guards joined at the beard, and a political cartoon in which Nazism and the America First movement are portrayed as "the men with the Siamese Beard."
* Geisel's earliest elephants were for advertising and had somewhat wrinkly ears, much as real elephants do. With And to Think That I Saw It on Mulberry Street (1937) and Horton Hatches the Egg (1940), the ears became more stylized, somewhat like angel wings and thus appropriate to the saintly Horton. During World War II, the elephant image appeared as an emblem for India in four editorial cartoons. Horton and similar elephants appear frequently in the postwar children's books.
* While drawing advertisements for Flit, Geisel became adept at drawing insects with huge stingers, shaped like a gentle S-curve and with a sharp end that included a rearward-pointing barb on its lower side. Their facial expressions depict gleeful malevolence. These insects were later rendered in an editorial cartoon as a swarm of Allied aircraft (1942), and again as the Sneedle of On Beyond Zebra, and yet again as the Skritz in I Had Trouble in Getting to Solla Sollew.
Publications
Further information: List of Dr. Seuss books
Over the course of his long career, Geisel wrote over 60 books. Though most were published under his well-known pseudonym, Dr. Seuss, he also authored over a dozen books as Theo. LeSieg and one as Rosetta Stone. As one of the most popular children's authors of all time, Geisel's books have topped many bestseller lists, sold over 222 million copies, and been translated into more than 15 languages. In 2000, Publishers Weekly compiled a list of the best-selling children's books of all time; of the top 100 hardcover books, 16 were written by Geisel, including Green Eggs and Ham, at number 4, The Cat in the Hat, at number 9, and One Fish Two Fish Red Fish Blue Fish, at number 13. In the years after his death in 1991, several additional books have been published based on his sketches and notes; these include Hooray for Diffendoofer Day! and Daisy-Head Mayzie. Though they were all published under the name Dr. Seuss, only My Many Colored Days, originally written in 1973, was entirely by Geisel.
At various times Geisel also wrote books for adults that used the same style of verse and pictures: The Seven Lady Godivas, which included nude depictions; Oh, The Places You'll Go!, which has become a popular gift for graduating students; and You're Only Old Once!, which chronicles an old man's journey through a clinic, a satire of the inefficiency of clinics.
Adaptations
Further information: List of Dr. Seuss television adaptations
For most of his career, Geisel was reluctant to have his characters marketed in contexts outside of his own books. However, he did allow for the creation of several animated cartoons, an art form in which he himself had gained experience during the Second World War, and gradually relaxed his policy as he aged.
The first adaptation of one of Geisel's works was a cartoon version of Horton Hatches the Egg, animated at Warner Brothers in 1942. Directed by Robert Clampett, it was presented as part of the Looney Tunes series, and included a number of gags not present in the original narrative, including a fish committing suicide and a Katharine Hepburn imitation by Maisie.
In 1959, Geisel authorized Revell, the well-known plastic model-making company, to make a series of "animals" that snapped together rather than being glued together, and could be assembled, disassembled and re-assembled "in thousands" of ways. The series was called the "Dr. Seuss Zoo" and included Gowdy the Dowdy Grackle, Norval the Bashful Blinket, Tingo the Noodle Topped Stroodle and Roscoe the Many Footed Lion. The basic body parts were the same and all were interchangeable, and so it was possible for children to combine parts from various characters in essentially unlimited ways in creating their own animal characters (Revell encouraged this by selling Gowdy, Norval and Tingo together in a "Gift Set" as well as individually). Revell also made a conventional glue-together "beginner's kit" of The Cat in the Hat.
In 1966, Geisel authorized the eminent cartoon artist Chuck Jones, his friend and former colleague from the war, to make a cartoon version of How the Grinch Stole Christmas!; Geisel was credited as a co-producer, along with Jones, under his real name, "Ted Geisel". The cartoon was very faithful to the original book, and is considered a classic by many to this day; it is often broadcast as an annual Christmas television special. In 1970, an adaptation of Horton Hears a Who! was directed by Chuck Jones for MGM.
From 1971 to 1982, Geisel wrote seven television specials, which were produced by DePatie-Freleng Enterprises and aired on CBS: The Cat in the Hat (1971), The Lorax (1972), Dr. Seuss on the Loose (1973), The Hoober-Bloob Highway (1975), Halloween Is Grinch Night (1977), Pontoffel Pock, Where Are You? (1980), and The Grinch Grinches the Cat in the Hat (1982). Several of the specials were nominated for and won multiple Emmy Awards.
A Soviet paint-on-glass-animated short film called Welcome (an adaptation of Thidwick the Big-Hearted Moose) was made in 1986. The last adaptation of Geisel's works before he died was The Butter Battle Book, a television special based on the book of the same name, directed by adult animation legend Ralph Bakshi. Geisel himself called the special "the most faithful adaptation of his work."
After Geisel died of cancer at the age of 87 in 1991, his widow Audrey Geisel was placed in charge of all licensing matters. She approved a live-action feature film version of How the Grinch Stole Christmas! starring Jim Carrey, as well as a Seuss-themed Broadway musical called Seussical, and both premiered in 2000. The Grinch has had limited engagement runs on Broadway during the Christmas season, after premiering in 1998 (under the title How the Grinch Stole Christmas!) at the Old Globe Theatre in San Diego, where it has become a Christmas tradition. In 2003, another live-action film was released, this time an adaptation of The Cat in the Hat that featured Mike Myers as the title character. Audrey Geisel was vocal in her dislike of the film, especially the casting of Myers as the Cat in the Hat, and stated that there would be no further live-action adaptations of Geisel's books. However, an animated CGI feature film adaptation of Horton Hears a Who! was approved, and was eventually released on March 14, 2008, to critical acclaim.
Two television series have been adapted from Geisel's work. The first, The Wubbulous World of Dr. Seuss, was a mix of live-action and puppetry by Jim Henson Television, the producers of The Muppets. It aired for one season on Nickelodeon in the United States, from 1996 to 1997. The second, Gerald McBoing-Boing, is an animated television adaptation of Geisel's 1951 cartoon of the same name. Produced in Canada by Cookie Jar Entertainment, it ran from 2005 to 2007.
Geisel's books and characters are also featured in Seuss Landing, one of many islands at the Islands of Adventure theme park in Orlando, Florida. In an attempt to match Geisel's visual style, there are reportedly "no straight lines" in Seuss Landing.
Further information
* Cohen, Charles (2004). The Seuss, the Whole Seuss and Nothing But the Seuss: A Visual Biography of Theodor Seuss Geisel. Random House Books for Young Readers. ISBN 0375822488.
* Fensch, Thomas (ed.) (1997). Of Sneetches and Whos and the Good Dr. Seuss: Essays on the Writings and Life of Theodor Geisel. McFarland & Company. ISBN 0786403888.
* Geisel, Audrey (1995). The Secret Art of Dr. Seuss. Random House. ISBN 0679434488.
* Geisel, Theodor (1987). Dr. Seuss from Then to Now: A Catalogue of the Retrospective Exhibition. Random House. ISBN 0394892682.
* Geisel, Theodor; Richard Minnear (ed.) (2001). Dr. Seuss Goes to War: The World War II Editorial Cartoons of Theodor Seuss Geisel. New Press. ISBN 1565847040.
* Geisel, Theodor (2005). Theodor Seuss Geisel: The Early Works, Volume 1. Checker Book Publishing. ISBN 1933160012.
* Geisel, Theodor; Richard Marschall (ed.) (1987). The Tough Coughs as he Ploughs the Dough: Early Writings and Cartoons by Dr. Seuss. New York: Morrow/Remco Worldservice Books. ISBN 0688065481.
* Lamothe, Ron. (2004). The Political Dr. Seuss. . Terra Incognita Films. http://www.tifilms.com/dr_seuss/seuss.htm. Documentary aired on the Public Television System.
* MacDonald, Ruth K. (1988). Dr. Seuss. Twayne Publishers. ISBN 0805775242.
* Morgan, Judith; Neil Morgan (1995). Dr. Seuss & Mr. Geisel. Random House. ISBN 0679416862.
* Nel, Philip (2007). The Annotated Cat: Under the Hats of Seuss and His Cats. Random House. ISBN 9780375833694.
* Nel, Philip (2004). Dr. Seuss: American Icon. Continuum Publishing. ISBN 0826414346.
* Weidt, Maryann; Kerry Maguire (1994). Oh, the Places He Went. Carolrhoda Books. ISBN 0876146272.
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Osteoporosis is a weakness and brittleness of what? | Osteoporosis - Medical Marijuana 411
Osteoporosis
April 25, 2016
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Osteoporosis
A condition characterized by weakness and brittleness of the bones.
Osteoporosis means “porous bone.” If you look at healthy bone under a microscope, you will see that parts of it look like a honeycomb. If you have osteoporosis, the holes and spaces in the honeycomb are much bigger than they are in healthy bone. This means your bones have lost density or mass and that the structure of your bone tissue has become abnormal. As your bones become less dense, they also become weaker and more likely to break.
While the body is perpetually absorbing and replacing bone tissue, sufferers of osteoporosis do not create new bone tissue at a sufficient rate in comparison to bone tissue removal. Many people with osteoporosis don’t know they have the condition until they sustain a bone injury such as a fracture. The symptoms of osteoporosis are quite limited, including back pain and the loss of height, while some individuals can experience severe pain with common daily activities, such as coughing and bending over.
About 54 million Americans have osteoporosis and low bone mass, placing them at increased risk for osteoporosis. Studies suggest that approximately one in two women and up to one in four men age 50 and older will break a bone due to osteoporosis.
The Past
Pharmaceutical prescriptions include:
Calciltriol – Calcitriol is a form of vitamin D. It works by promoting proper absorption and use of calcium and phosphate by the body in normal bone development and maintenance.
Raxolifene – Raloxifene is a selective estrogen receptor modulator (SERM). It works in osteoporosis by decreasing bone breakdown and thinning that may occur in women after menopause. It works to decrease the risk of invasive breast cancer by blocking estrogen in breast and uterine tissue.
Zoledronic acid – Zoledronic acid inhibits the release of calcium from bones.
Pamidronic acid – Pamidronic acid treats bone damage caused by Paget’s disease, multiple myeloma, osteoporosis or breast cancer that has spread to the bones. This medicine is a bisphosphonat.
Physical therapy is also common to strengthen the bones, while radiologists, orthopedic surgeons and geriatricians are also oftentimes called upon to help treat the condition.
Calcium supplements and healthy diet and lifestyle are also commonly employed by sufferers of osteoporosis to combat the condition.
The Plant
THC is the most commonly cited cannabinoid used in the treatment and prevention of osteoporosis. It is THC’s activation of the CB1 and CB2 cannabinoid receptors that is believed to be responsible for the positive interaction.
CB1 and CB2 Cannabinoid Receptors
Cannabinoids interact with pathways in the body known as receptors. Many receptors exist in the body, but cannabinoids interact specifically with two types.
The two types of cannabinoid receptors are called CB1 and CB2. Both are found throughout the body, but are most common in the brain and immune system. When cannabinoids activate CB1 or CB2 receptors, they change the way the body functions.
CB1 receptors are responsible for marijuana’s psychoactive effects. They are present in many areas of the brain and play a role in memory, mood, sleep, appetite and pain sensation.
CB2 receptors are responsible for marijuana’s anti-inflammatory effects. They are found in immune cells and work to reduce inflammation. Inflammation is an immune response and is believed to be a factor in many diseases and conditions.
In the January 2006 issue of the Proceedings of the National Academy of Sciences, investigators at the Bone Laboratory of the Hebrew University in Jerusalem reported that the administration of the synthetic cannabinoid agonist HU-308 slowed the development of osteoporosis, stimulated bone building and reduced bone loss in animals. Follow up research published in the Annals of the New York Academy of Sciences in 2007 reported that the activation of the CB2 cannabinoid receptor reduced experimentally-induced bone loss and stimulated bone formation. Investigators have previously reported that mice deficient in the CB2 cannabinoid receptor experienced age-accelerated bone loss reminiscent of human osteoporosis.
Scientists now speculate that the main physiologic involvement of specific endocannabinoid receptors (CB2 receptors) is to maintain:
Bone remodeling at balance, thus protecting the skeleton against age-related bone loss,leading some experts to believe that cannabinoids may be “a promising target novel target for anti-osteoporotic drug development.
The Patient
Cannabinoid treatment and prevention of osteoporosis first emerged in research in the early 1990s. However, there has been no clinical research on humans to date. Studies in animal models have provided promising indications that cannabinoid treatment can be effective in managing osteoporosis.
The CB1 receptor is present mainly in skeletal sympathetic nerve terminals, thus regulating the adrenergic tonic restrain of bone formation. CB2 is expressed in osteoblasts and osteoclasts, stimulates bone formation, and inhibits bone resorption. Because low bone mass is the only spontaneous phenotype so far reported in CB2 mutant mice, it appears that the main physiologic involvement of CB2 is associated with maintaining bone remodeling at balance, thus protecting the skeleton against age-related bone loss.
| Bone |
Gene Porter, the man behind "The Man" BBQ sauce, passed on Sunday. At which Bellevue legendary restaurant were you able to slather your meat with man sauce? | Osteoporosis - Senderra Rx
Osteoporosis
Ulcerative Colitis
Osteoporosis is a condition causing brittleness and weakness of the bones.
Osteoporosis, or thinning bones, can result in painful fractures. Risk factors for osteoporosis include aging, being female, low body weight, low sex hormones or menopause, smoking, and some medications. Prevention and treatment include calcium and vitamin D, exercise, and osteoporosis medications.
Conditions
A person is often not aware that he or she has osteoporosis until a fracture occurs. But there are occasionally symptoms of the disorder, which could include:
A backache.
A gradual loss of height and an accompanying stooped posture.
Fractures of the spine, wrist, or hip.
Medications
BONIVA (IBANDRONATE)
BONIVA (Ibandronate) is used for the prevention and treatment of Postmenopausal Osteoporosis. It works by decreasing the activity of the cells in bone that cause resorption and recycling of the bone.
Learn More
FORTEO
FORTEO is used to treat Osteoporosis in both women and men at a high risk of bone fractures. It works by increasing new bone formation by stimulating the cells that create bone mass.
Learn More
PROLIA - Osteoperosis
PROLIA is a prescription medicine used to treat osteoporosis in women after menopause who are at high risk for fracture and other osteoporosis medicines did not work well. It works by decreasing the activity of the cells in bone that cause resorption and recycling of the bone.
Learn More
RECLAST, ZOLEDRONIC ACID
RECLAST (ZOLEDRONIC ACID) is indicated for treatment of osteoporosis in postmenopausal women. Zoledronic Acid reduces the incidence of fractures. Zoledronic Acid is used to increase bone mass in men with osteoporosis. It works by decreasing the activity of the cells in bone that cause resorption and recycling of the bone.
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The name Julie is French form of what classic Latin name meaning youthful, soft-haired, beautiful or vivacious? | Julie name meaning
The name Julie is a baby girl name .
Meaning
Latin Meaning:
The name Julie is a Latin baby name . In Latin the meaning of the name Julie is: Young.
American Meaning:
The name Julie is an American baby name . In American the meaning of the name Julie is: Young.
French Meaning:
The name Julie is a French baby name . In French the meaning of the name Julie is: Downy. French form of Julia. Also can be a feminine form of Julian: Youthful. Jove's child. Famous Bearer: Actress Julie Andrews.
Numerology
SoulUrge Number: 8
People with this name have a deep inner desire to lead, organize, supervise, and to achieve status, power and wealth.
Expression Number: 3
People with this name tend to be creative and excellent at expressing themselves. They are drawn to the arts, and often enjoy life immensely. They are often the center of attention, and enjoy careers that put them in the limelight. They tend to become involved in many different activities, and are sometimes reckless with both their energies and with money.
Rate this name:
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Played by Jay Silverheels on the TV series, what is the name of The Lone Ranger's faithful companion? | Baby Girl Names J - Moms Who Think
Moms Who Think
Baby Girl Names beginning with J
The Top Girl Names and Unique Girl Names that start with J
Baby Girl Names Beginning with J
Beautiful. Also a form of Hyacinth.
Jacinthe
The supplanter. The feminine form of Jacob and James.
Jackie
The supplanter. The feminine form of Jacob and James.
Jacky
The supplanter. The feminine form of Jacob and James.
Jaclyn
The supplanter. The feminine form of Jacob and James.
Jacoba
The supplanter. The feminine form of Jacob.
Jacqueline
The supplanter. The feminine form of Jacob and James.
Jacqui
The supplanter. The feminine form of Jacob and James.
Jada
The contentious one. A fighter.
Jael
To ascend or a wild goat. A boy or girl's name.
Jaen
French for I love you. A boy or girl's name.
Jaimica
The handsome one. A boy or girl's name.
Jamari
The supplanter. A feminine form, of James. Also see Jaime.
Jamila
God is gracious. A boy or girl's name.
Jana
Jancis
English
A modern name derived from Jane and Frances. Jane - God is gracious. Frances - From France, or a free woman.
Jane
Hebrew
God is gracious. The feminine form of John. Also see Janelle, Janet, Janice, Janine, Jean, Joan, Joanne, Shane, Sim.
Janelle
A modern name derived from Jane and the feminine suffix `elle'. Jane - God is gracious.
Janet
God is gracious. The feminine form of John. Also see Janelle, Janet, Janice, Janine, Jean, Joan, Joanne, Shane, Sim.
Janette
Janice
God is gracious. The feminine form of John. Also see Janelle, Janet, Janice, Janine, Jean, Joan, Joanne, Shane, Sim.
Janina
Janine
God is gracious. The feminine form of John. Also see Janelle, Janet, Janice, Janine, Jean, Joan, Joanne, Shane, Sim.
Janisa
The moon. Also a placename.
Janthina
A violet-coloured flower. Also see lolanthe.
Janthine
A violet-coloured flower. Also see lolanthe.
Japera
The supplanter. The feminine form of Jacob and James.
Jarah
A type of Eucalyptus tree. A boy or girl's name.
Jarvia
As sharp or keen as a spear.
Jarvinia
Victory. Also the name of a Buddhist female goddess.
Jayani
Jazlin, Yazlin, Yazlyn, Yaz, Jaz, Lyn
Je through Ji
God is gracious. A boy or girl's name.
Jeanne
French
God is gracious. The feminine form of John. Also see Janelle, Janet, Janice, Janine, Jean, Joan, Joanne, Shane, Sim.
Jeannette
God is gracious. The feminine form of John. Also see Janelle, Janet, Janice, Janine, Jean, Joan, Joanne, Shane, Sim.
Jehan
A dove. A biblical name.
Jemma
Jena
God is gracious. The feminine form of John. Also see Janelle, Janet, Janice, Janine, Jean, Joan, Joanne, Shane, Sim.
Jenara
have done good to produce a child
Jenell
Fair and soft. Also a variation of Guinevere.
Jenny
A brave spear woman. The feminine form of Gerard.
Jeremia
Appointed by God. The feminine form of Jeremiah and Jeremy.
Jermain
From Germany. A boy or girl's name.
Jermayne
God's gift. A boy or girl's name.
Jessica
Wealthy. Used by Shakespeare for a character in The Merchant of Venice.
Jessie
Wealthy. Also independent names, particularly in Scotland.
Jet
Black, the name of a material used for making jewellery. A boy or girl's name.
Jetta
Black, the name of a material used for making jewellery.
Jewel
A gemstone or the precious one.
Jewell
A gemstone or the precious one.
Jezebel
From a Roman family name. The feminine form of Julian and a derivative of Julia.
Jilli
From a Roman family name. The feminine form of Julian and a derivative of Julia.
Jillian
From a Roman family name. The feminine form of Julian and a derivative of Julia.
Jillie
From a Roman family name. The feminine form of Julian and a derivative of Julia.
Jilly
From a Roman family name. The feminine form of Julian and a derivative of Julia.
Jin
Chinese: Golden. Korean: A jewel. A boy or girl's name.
Jina
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The US lead the world in winning medals at this years winter Olympics. Which country came in next? | The 14 most fascinating facts about the final 2014 Winter Olympics medal count | For The Win
The 14 most fascinating facts about the final 2014 Winter Olympics medal count
The 14 most fascinating facts about the final 2014 Winter Olympics medal count
By Chris Chase February 23, 2014 10:19 am Follow @firechrischase
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(USA TODAY Sports Images)
The competition ended Sunday at the 2014 Winter Olympics. Which nation ruled the medal count? How did the United States fare? Which athletes went home with the biggest haul? And just how dominant was the Dutch speedskating team? For The Win answers those questions, and many more, with the 14 most interesting facts about the final Winter Olympics medal count.
1. Russia ruled Russia
(USA TODAY Sports Images)
No matter the metric, the host nation won a decisive medal-count victory . Russia won 13 gold medals in Sochi, two more than runner-up Norway. Overall, Russian athletes won 33 medals, five more than the United States’ 28. It’s the first time the host nation swept both medal counts since Norway did it at the 1952 Winter Games in Oslo.
2. United States is king of the bronze
USA TODAY Sports
It didn’t look good for the United States. No medals in individual figure skating for the first time since 1936. No medals in speedskating for the first time since 1984. The four most identifiable Winter Olympians — Shaun White, Bode Miller, Lindsey Vonn, Shani Davis — won a total of one bronze medal. (In Vonn’s defense, she wasn’t competing in Sochi due to injury.) The women’s hockey team blew a late 2-0 lead in the gold-medal game and the men’s team was outscored 6-0 in the medal rounds. Still, it wasn’t all bad. American athletes won 28 medals, good for second on the overall medal count. (That was nine fewer medals than the U.S. won in Vancouver, however.) Team USA’s 12 bronze medals were the most for any nation. It’s the third time in the past four Winter Olympics the Americans have won that tally.
3. Dutch (speedskating) masters
(USA TODAY Sports Images)
The speedskating team from The Netherlands won 23 medals (eight gold, seven silver, eight bronze). Among the remarkable aspects of that achievement:
a. The Dutch speedskating team alone would have finished sixth on the overall medal count.
b. While the Dutch won 23 medals on the oval, all other nations won 13 medals combined.
c. Since 1998, no other country has won more golds in speedskating than the Dutch won in Sochi. (The U.S. and Germany had seven each.)
d. They did this all with just 41 athletes in Sochi. Canada earned one more medal with 180 more athletes.
e. The Netherlands only won one more medal in the Olympics. It came in short-track speedskating, of course.
4. The rise and fall of Germany
(USA TODAY Sports Images)
For the early days of the Winter Games, Germany led the gold-medal count, thanks to a dominating performance in luge. (German lugers won all four golds in the luge events.) But once luge ended, it was all downhill from there, as Germany ended up finishing sixth in both medal counts. That’s the worst performance for any post-Berlin Wall German team and the worst for a main German Olympic squad in 46 years.
5. The Dutch did the most with the least
The Dutch team at the Opening Ceremony. (AP)
We’ve listed the medal count by golds, total medals and per-capita rates . So how about medals per athlete in Sochi? Winning 10 medals with 100 athletes is more impressive than winning 12 medals with 200 athletes, right?
It’s no surprise the Netherlands leads this total, with 24 medals from 41 athletes equaling one medal for every 1.7 competitors. Belarus was second (six medals for 24 competitors; 1 for 4), followed by Norway (every 5.15 athletes), France (7) and Russia (7.03). The worst medal-per-athlete rate was Slovakia, which won a single medal for its 62 athletes. Croatia was the smallest delegation to medal, winning one with just 11 athletes. The biggest delegations not to medal in Sochi? Romania and Estonia were shutout with 24 athletes each.
6. Belarus comes out of nowhere
Belarus won more medals in the 15k biathlon than from 2002-06. (USA TODAY Sports Images)
In its only five Olympics prior to Sochi, the former Soviet Republic earned a total of one gold medal and never finished better than 15th in the medal count. In Sochi, Belarusian athletes won five golds and finished eighth in the medal count. Just by herself, biathlete Darya Domracheva (three gold medals) did better in Sochi than her entire nation had done at the five previous Winter Olympics.
7. Come on, Spain, Chinese Tapei and The Former Yugoslav Republic of Macedonia, pull your weight.
(USA TODAY Sports Images)
Through 44 events, 26 nations won medals at the Winter Olympics, which tied the record set at both the 2006 and 2010 Winter Games. After 98 events, 26 nations won medals at the Winter Olympics. The record remained. (Stat via @nzaccardi ).
8. The no-medal gold medalists
Iceland didn’t medal in Sochi. ICE-land didn’t medal at the Winter Olympics. That’s like, I don’t know, the sun getting shut out at the Summer Olympics. But this isn’t as unexpected as you’d think. Though it’s baffling on all levels, Iceland has actually never medaled at any Winter Games. The tiny nation sent just five athletes to Sochi and none finished better than 34th in their respective events.
While it’s no surprise countries like Brazil, Lebanon and Togo didn’t get medals in Sochi, the lack of success of a few nations might raise an eyebrow. Belgium, for instance, has won just one medal since 1952 and Denmark only has one medal ever.
9. Mikaela Shiffrin pulled a Michael Phelps
(USA TODAY Sports Images)
As noted by Alan Abrahamson , skiing’s up-and-coming star finished fifth in her first Olympic race. In her second, she won gold. Phelps pulled the same feat in the Summer Games (over his first two appearances).
10. Speaking of Phelps …
(USA TODAY Sports Images)
Two years after the swimming star became the most decorated Summer Olympian in history, Norwegian biathlete Ole Einar Bjoerndalen became the most decorated Winter Olympian in history, winning his 13th carer medal in Sochi. That moved him past his countryman and fellow Bjoern, Bjoern Daehlie. Not to be outdone, another Norwegian cross-country skier, Marit Bjoergen, became the most decorated female Winter Olympian ever. She won her sixth career gold in Sochi.
11. Russian transplants named Vic pay off
(USA TODAY Sports Images)
Viktor Ahn, a South Korean speedskater who defected to Russia after the Vancouver Games, won three gold medals and a bronze in short track speedskating, making him the most decorated athlete in Sochi. Another foreign-born Russian athlete, American Vic Wild, won two golds in snowboard. Together, the Vic transplants would have finished a combined eighth on the overall medal count.
The other three-time gold medalists in Sochi: Bjoergen and Domracheva.
12. Who went home with the most hardware?
(Getty Images)
Which athlete won the most medals in Sochi? Would a Dutch speedskater suprise you? Ireen Wust took home five medals from Russia, winning two golds and three silvers. That was the biggest haul for any athlete and more than all but 19 nations.
Norwegian biathlete Tora Berger and Suk Hee Shim, a Korean short-track skater, had the Olympic rainbow award, winning gold, silver and bronze at these Winter Games. The hard-luck athlete in Sochi was Russian cross-country skier Maxim Vylegzhanin. He won three silvers, the final two coming in races that totaled 2 hours, 13 minutes. In those, he was a combined 1.68 seconds away from gold.
13. Americans didn’t double-up
(USA TODAY Sports Images)
Only two Americans won multiple medals in Sochi. Meryl Davis and Charlie White won bronze in the team figure skating competition and a historic gold in the ice dancing. The one gold and one bronze tied them for 39th on the individual medal count.
14. Who ruled each sport?
(USA TODAY Sports Images)
Which nations won the medal counts for the 15 sports at the 2014 Winter Olympics? It was largely spread out, with nine different countries being atop the 15 different sports.
Alpine skiing — Austria (3 gold/4 silver/2 bronze)
Biathlon — Norway (3/1/2)
| Germany |
Feb 28, 1993 saw the BATF attempt to raid the Waco, TX compound of what religious cult, sparking a 51 day standoff? | Olympics - Sochi Winter Games - Boston.com
Permalink | Comments () Posted by Staff February 24, 2014 11:26 AM
By Jeff Pini, Boston.com Correspondent
The United States may have set a record for number of participants sent to the Winter Games in Sochi, but it can be said that the overall results were not as satisfying.
Americans brought home 28 medals from the 2014 Winter Olympics, five behind Russia for the overall lead. While second place may be successful for some countries, it was far from what the US expected heading into the Games.
The overall medal count was strong, but when looking at the numbers individually, some interesting stats emerge. For example, of the 28 medals Americans won in Sochi, nine were in events that were making their Olympic debut: six in slopestyle skiing and snowboarding; two in halfpipe skiing; and one in team figure skating.
Here is a breakdown of where the US�s medals came from at the 2014 Winter Games.
Had these events not been added to the Olympics lineup this year, these Olympics would have gone down as the lowest medal count since the US brought home 13 from Nagano, Japan, in 1998, a far cry from Vancouver 2010, where the US topped the medal stand with 37.
Success in �traditional� Winter Olympics sports was more scarce for the US than usual. Two noticeable areas were in speed skating and figure skating, as the Americans were completely shut out in speed skating for the first time since 1984, while the figure skaters accounted for just one medal in the sport�s four disciplines, their poorest showing since 1994.
An area the US has gained momentum over the past few Olympics are in �X Games� style sports, where big air and stunning tricks reign supreme. �X Games� sports at the Olympics encompass more modern events that focus on extreme displays shown by athletes on the course, but are not necessarily limited to just events that are a part of X Games competition. Here is a look at how the US medal count in those events compared to �traditional� Winter Olympics sports.
The US has seen a greater rise in participation among these �X Games� sports over the past decade, with more young athletes choosing to pursue them over the traditional sports.
Permalink | Comments () Posted by Dan Egan February 24, 2014 09:00 AM
By Dan Egan, Boston.com Correspondent
Dear Sochi,
I writing to thank you for being such a great host during the 2014 Winter Olympics. To be honest, my friends and family were worried about my visit, and I also have to admit that I bought terrorism and medical evacuation insurance just to be on the safe side. My mom said she was glad I did.
All I can tell you is that from the moment I touched ground in Sochi, things went much smoother than I expected. And much to my surprise, the simple things that can be a huge hassle when traveling were really well thought-out. There was no real language barrier to speak of, all my baggage arrived, and the hotel bus shuttle was smooth.
Overall, I was in your town for 25 days and I should add they were long days. Getting from the Coastal Cluster of media hotels to the mountain events did take me just over two hours one way, and with some of the evening events and press conferences not ending until after midnight, it made for a long commute at the end of each day back to my hotel.
Congratulations on your internet! I had connections in the media centers, at the bottom of ski runs, and in my hotel. It was never an issue. As a video journalist, a solid, uninterrupted connection is a must, and you delivered on that.
I�m going to tell all of my friends to come and visit, and here is why. I think overall, the Sochi 2014 Olympics were one of the most impressive engineering and construction project in modern times. Being from Boston and having lived through the �Big Dig� � which was in essence one big long tunnel and took close to 12 years to complete � it was obvious you certainly did more than that in less time.
From the airport out, everything was brand new, from the roads, trains, hotels, and sidewalks to the Olympic venues, stadiums, ski resorts, cross country center, ski jumps and bobsled tracks. Some estimates have the total number of workers over 70,000. And the world came and camped out in your town. It was obvious that not all of this massive construction site was cleaned up or completed, but hey, amazing effort mate, well done!
I'm eager to hear how you feel about how the world treated you as our host during the Winter Olympics? The world showed up on your doorstep and you fed us, showed us around, and generously let the world invade and criticize the house that Putin built. For sure there are issues in your country and you certainly do things differently, plus we dug around a bit looking for the cracks in your sidewalks, so to speak, but I guess that was to be expected � with greatness come critics.
It was a blast meeting so many people. The Olympians, the volunteers, the families, and the Russian fans were so pumped up to be there. During the entire trip, I only heard the press complaining � I couldn't find one spectator, worker, athlete, or coach who had issues. Most only had praise and good things to say about you and your town�s people.
Oh, those "cracks" we found with your way of life? I didn't find one Russian who complained about the things the media reported. Funny?
Sochi, you are located in a beautiful part of the world. The Black Sea provided an amazing backdrop for the mountain events and the mountains loomed large stacked up behind the Olympic Park. I wish you success in the future, the same success and opportunities you provided to all athletes, the families, fans, media, and support personnel. I hope to be back one day as well to see how the place looks when you do finally get to complete the project.
Best of luck to you, Sochi, and once again a big Boston thank you!
Permalink | Comments () Posted by Dan Egan February 21, 2014 06:00 PM
By Dan Egan, Boston.com Correspondent
I�ll remember tonight for the rest of my life. It was one of those nights when you realize you are seeing someone really special perform something that has never been done before.
At 18, Mikaela Shiffrin is the youngest Olympic slalom champion of all time. It could be her youth, it could be her technique, or it could just be that she has a natural talent for shredding slalom like no one else in history. She is only the fourth US woman to strike gold in the Olympic slalom, and the last time was in 1972, when Barbara Cochran won in Sapporo, Japan.
Shiffrin is skiing at a unmatched level. She's mature, and she skis both strategically and tactically under pressure. She did it at the World Championships last year, and she has done it again here in Sochi. Her athleticism, her fierce competitive spirit, and her ability to shrug off the pressure is the perfect recipe for a champion. Plus, she believes she is good.
�She was really confident today and said a few things that made me think she would win today," said her coach, Roland Pfeifer. "I noticed when she was 16, she was really special and she really thinks 24/7 about skiing. She is full-on all the time and a real professional.�
The first run of the Olympics slalom started at 4:45 p.m. Sochi time, and it was a warm overcast day and the snow was soft. To firm the snow up, they added a lot of salt to ice over the surface.
The course had a lot of cranky turns in it, and the top 10 skiers had the fastest times because the snow held up for them, but after that the course had holes and ruts in it.
Marlies Schild of Austria moved from seventh in the first run to winning the silver. Kathrin Zettel won bronze.
�On the first run, I pushed my skis too hard and the snow gave way under my feet. On the second run I was able to change everything and won silver,� Schild said.
The second run began at 8:15 p.m., and the course was set a bit wider, with open turns, and the women could let their skis ride straighter through most of the course. The temperature dropped just enough to harden the snow, and the course was in much better shape.
The second run was book-ended with two Americans � the top 30 run in reverse � so New Hampshire�s Julia Ford was the first one down the coarse and Shiffrin ran 30th.
�Both of the women on the podium with me tonight were my childhood heroes, and I�m just honored to be up here with them," Shiffrin said. "I�ve proven to myself that I can win. The gold medal will change me the way I want to be changed. I�m still going to be the same girl, and looking for more speed on the mountain.�
With that statement, Shiffrin embarked on a media tour with her gold medal. She'll likely handle that as well as she handled the icy terrain on the FIS World Cup and the Olympics, and it's also likely we will have many more memorable runs performed by a true champion.
Permalink | Comments () Posted by Dan Egan February 20, 2014 05:15 PM
By Dan Egan, Boston.com Correspondent
SOCHI, Russia � The volunteers at the Olympics are everywhere. They dot the streets, buses, venues and the Olympic Park.
They wear smiles on their faces and bright multi-colored uniforms that will be memories for me for a long time from the 2014 Winter Olympics.
In many ways, the Olympics are about exporting national pride and hope for what the future holds for the host country. In Sochi, the backbone for that message is the young volunteers.
Luke McCarthy of Durham, N.H., is a private English teacher in St. Petersburg. He thinks the games are a major monumental shift in the Russian youth culture that is volunteering here in Sochi.
McCarthy studied international relations and Russian studies at Purdue University , and has traveled around the world, including a 40-day hitch-hiking trip from Turkey and eastern Europe. After the Olympics, he is heading to India for a year to help the poor.
�These games have been a cultural revolution, and you can see it in the restaurants, the information centers, and the ticket lines. The Russian volunteers are smiling and saying hello in English � verses the older construction workers guys and the security guards are grunting and grimacing,� McCarthy said.
At any of the Olympic venues, one thing you always notice are the volunteers. They are the front-line staff and the face of the 2014 Winter Olympic Games. My experience is they are really trying hard, and in many cases are more friendly and sincere than the youth of America in similar roles at McDonalds and rock concerts.
The average age of a volunteer at Sochi 2014 is 23, and around 82 percent of the 25,000 volunteers at Sochi are between 18 and 30. In reality, this Olympics is more like a youth convention and a pep rally for the young adults of Russia.
The volunteering program here in Sochi has provided one of the youngest volunteer workforces at an Olympic Games. It also introduced the barely known concept�to Russia of volunteerism, organizers said. Only 7 percent of the volunteer workforce is international, and they come from 66 countries, including Canada, the United States, Great Britain, France, Germany, Kazakhstan, and Ukraine.
The Russian word for hospitality is �gostepriimstvo,� which means �welcome guest.�
�The everyday Russian is a great host in their home only," McCarthy said. �Out on the street, they are a lot less polite. But somehow the Olympics have changed that and here in Sochi, these volunteers are treating people like Russia is their home.�
The hope and expectation for Russian organizers for these volunteers is that this experience will remain with the volunteers and be carried back to small villages, towns, and cities all through out this Russia.
"Only 3 percent of people were engaged in volunteer work in Russia when we started this project six years ago," Sochi 2014 head of volunteers Marina Pochinok said at a press conference. �Sochi's 2014 volunteer program has educated Russians about what volunteers are capable of and what skills they offer and to educate our people and to create a culture of volunteering.�
The Olympics is most significant event that has taken place in Russia since the fall of communism. Russian president Vladimir Putin, who is from St. Petersburg, has made national pride a major policy of his leadership. This generation knows four things about Russia: 1.) life was hard for their parents; 2.) life is good now; 3.) the future looks bright; and 4.) Putin provides economic opportunity.
"These volunteers have changed the way the world sees Russia,� McCarthy said, "and maybe more importantly changed the way Russian young adults sees themselves in the world.�
From the Tzars to Stalin and now Putin, Russian rulers have summered in Sochi.
�Sochi is the Russian Miami. Putin realizes that an old-style Soviet summer won�t work. So all of this new infrastructure looks and feels like Europe, so the investment has been worth it,� said Jim Brooke, the Russian Bureau Chief for Voice of America.
Regardless of the environmental and economic themes of corruption that will forever accompany these games, the feeling here is of �Russian Pride� that will go forward with the volunteers of this country.
�Yes there are many problems and limitations here in Russia," McCarthy said. "But there is a Russian saying that can be applied to almost any situation in this country that goes like this: 'We live in a closet here in Russia, but its a big roomy comfortable closet. so don�t push to hard against the door to get out'."
So with all of these young adults chanting �Russia, Russia" at all of the Olympic events, Putin may have achieved his Olympic dreams of an unified, proud Russian landscape, happy here in the closet.
Correction: An earlier version of this story had an incorrect translation of the Russian word "gostepriimstvo."
Permalink | Comments () Posted by Matt Pepin, Boston.com Staff February 20, 2014 04:52 PM
By Alice Cook, She's Game Sports
Ice is slippery. Figure skating is hard. Olympic pressure is massive. Only the strong survive, and the toughest will win.
Adelina Sotnikova is figure skating�s new ice queen because she competed like a street fighter.
The 17-year-old Russian skated like she could taste the gold medal. From the determined look in her eyes at the start, right through to her triumphant finish, Sotnikova threw caution to the wind and said, �beat that.� More than any other competitor, she was going for gold with a vengeance and an attitude.
To the wild cheers of the Russian audience, Sotnikova did not let up or break down. It wasn�t flawless, and it didn�t have to be because Kim Yu Na couldn�t match it.
Kim was the final skater, and she found herself in a place she�s rarely ever been � a tight race. The reigning Olympic champion would need to be close to perfect. She needed to skate with the strength and confidence she is known for.
Instead Kim was tight. Her usual fluidity was not there. Aside from turning the back end of a triple-triple into a double, there were no obvious mistakes. There was also no passion.
The best Olympic gold medal performances I have ever seen have one thing in common. Electricity. Dorothy Hamill, Kristi Yamaguchi, Sara Hughes, and Tara Lipinski all had it. By the final minute of their programs, they were on fire. They could feel it and so did the audience.
Kim did not throw sparks this time. I felt she was slow, tight and cautious. And for anyone counting, she did one fewer triple than Sotnikova and lost some precious points there. Kim would settle for silver.
Italy�s Carolina Kostner took home the bronze with a nice free skate, although it was nowhere near the caliber of her short program. I like how Bolero worked for Torvill and Dean, but not so much for Kostner.
Kostner�s jumps were high and crisp, and the smile never left her face. With four skaters still to go, I thought her score was too high. And I definitely thought Gracie Gold could beat her.
Gold was the next to skate after Sotnikova, which was no easy task with crowd going wild. Her program began beautifully. With many of her toughest elements out of the way, Gold lost focus on a triple flip and hit the ice.
There would be no �fist pump� after the final double axel this time. Gold has come a long way in a very short time. She is only 18. Coach Frank Carroll has been great for Gold�s confidence.
More than anything else, I think Gracie Gold has everything it takes to be the best female skater in the world. She should be very proud of her 4th place finish, and it will be fun to watch her grow as a skater and a personality over the next four years.
Ashley Wagner was a much better Delilah than a Juliet. The music change was a good move. I liked how she attacked both her short and free skate at these Olympics. A couple of two-foot landings took away too many points, and Wagner would finish 7th.
Out of the running was Russia�s golden girl, Julia Lipnitskaia. After leading her country to the gold medal in the team event, Lipnitskaia crumbled on her own. It was too much weight to put on the shoulders of a 15-year-old. Lipnitskaia settled for 5th.
The 15-year-old from California had no such pressure.
Once again, Polina Edmunds proved she can play with the big girls. A top ten finish in her first Olympics is a terrific accomplishment. Edmund�s overall consistency is amazing. She is more of a jumper than an artist at this point, although that will change as her skating matures.
The warrior award goes to Japan�s Mao Asada. This skater was a serious medal contender before her disastrous short program. Asada was the only woman in this competition to attempt a triple axle. It�s her make-or-break jump, and she missed it badly in the short.
Buried in 16th place, Asada, skated in an early group and laid down the best skate of the night. She nailed the triple axel along with everything else.
Asada skated with heart and guts. Her performance in the free skate will be one my favorite Olympic moments.
Russia wanted gold in men�s hockey and didn�t come close. The toughest Russian on ice in Sochi was Adelina Sotnikova.
And to think just a few days ago nobody knew her name.
Permalink | Comments () Posted by Dan Egan February 19, 2014 11:37 AM
By Dan Egan, Boston.com Correspondent
There was plenty of praise heaped on American Ted Ligety following his victory in the giant slalom at the Winter Olympics on Wednesday.
A sampling:
Bode Miller called Ligety "the best GS racer of all time."
US Ski Team head coach Sasha Rearick : "He hates to lose and he trains the hardest and technically there is no one better.�
Alexis Pinturault, who won the bronze medal, said �Ted is the fastest GS guy in the world. We all know it.�
So what is the magic sauce for Ligety?
�I�m a student of the sport. I analyze the top skiers and I focus on what I can do to go faster. I want to win and I want to keep winning,� Ligety said after he became the second American to win two Olympic gold medals. Andrea Mead-Lawrence won both the slalom and giant slalom at the 1952 Olympics in Oslo, Norway.
Calm in the face of the pressure is might also be part of his formula for winning.
�There is a lot of pressure for me because I was the favorite, and none of the favorites have won here in Sochi so far. I�m the first and I felt the pressure, but it�s my third Olympics and I knew I was prepared to do it," Ligety said.
In the second run Wednesday, the GS course had big holes and ruts, especially on the steep section above the flats. Racers were getting bounced around the steeps, which caused them to lose speed on the flats.
�Basically if you slowed down above the steeps and skied a tight line, you could make the speed up on the flats, which is what I did,� Ligety said.
Ligety has perfected the �Skivit� which is a move he makes above the gate. What he does is skids the ski into position and then pressures the edge and carves out of the turn. This allows him to ski a tight line, minus the acceleration, above the gate. It has become his signature move and few if any do it as well as Ligety.
�Look, he is technically perfect, his tactics are strong and he knows he can win,� said
Permalink | Comments () Posted by Dan Egan February 18, 2014 02:15 PM
By Dan Egan, Boston.com Correspondent
David Wise won the gold medal in the men's skiing halfpipe competition at the Rosa Khutor Extreme Park Tuesday evening.
It was a clinic, and Wise was the professor. The Northstar, Calif., resident added Olympic gold to a long list of achievements, including three X Games golds.
Wise posted a first-run score of 92.00 in the final to claim the title, 1.40 points ahead of the 90.60 by silver medalist Mike Riddle of Canada. Kevin Rolland of France won the bronze medal with an 88.60.
Aaron Blunck (Crested Butte, Colo.) was seventh with a score of 79.40. Torin Yater-Wallace (Basalt, Colo.) finished 26th and Lyman Currier (Boulder, Colo.) was 28th.
We caught up with his family just after the winning run in Sochi. Watch their reactions in the video above.
Permalink | Comments () Posted by Staff February 17, 2014 11:59 AM
By Jeff Pini, Boston.com Correspondent
US bobsled pilot Steven Holcomb made American history in 2010 with his four-man sled winning the country�s first four-man gold medal in 62 years, and he and brakeman Steve Langton were looking to make more history in the two-man bobsled final on Monday at the Winter Olympics.
Holcomb and Langton, who is a native of Melrose, completed their quest with a strong showing in the two-man, winning the bronze medal with a total time of 3:46.27. The US had not won a medal in two-man bobsledding since 1952.
Their final time was just .03 seconds ahead of fourth place Russians Alexander Kasjanov and Maxim Belugin.
Tonight I lived my dream. Thank you to everyone who has supported & believed. This incredible journey would not have been possible w/o you.
Permalink | Comments () Posted by Dan Egan February 15, 2014 10:14 AM
By Dan Egan, Boston.com Correspondent
Sochi, Russia is known as a summer resort. Many wondered what the weather would be like in this part of Russia for the Winter Olympics, and last year at the test events it was warm, but not as warm as it has been this week.
Here at the 2014 Olympics, it's more like spring weather with temperatures up as high as 60 degrees, and it is affecting the snow quite a bit. The men's mogul course was a sea of slush, and the landings on the jumps had big holes punched into the soft snow.
In the men's super combined event, Olympic organizers started the downhill portion of the competition an hour earlier hoping the snow would stay firm for the event. It didn't. The halfpipe had ruts and bumps in it, and snowboarder Danny Davis called it the worst pipe he has seen in nearly a decade.
In the video above, Doug Charko, who is the meteorologist for Team Canada, gave us some insight on the conditions and what we can expect heading into next week.
Emily Cook has her best finish in women's aerial freestyle
Permalink | Comments () Posted by Staff February 14, 2014 01:10 PM
The US's Emily Cook attempted her full-double full jump in the first round of the women's aerial freestyle skiing event Friday. (AP Photo/Sergei Grits)
By Zuri Berry, Boston.com Staff
Belmont�s Emily Cook, competing in the women�s aerial freestyle skiing final, took a spill in the second round of the competition Friday, ending her quest for an Olympic medal.
Despite the disappointment, Cook's eighth place mark was still her best finish in her illustrious 15-year career.
The six-time US champion, who has competed in two prior Olympics, was ranked second in the world cup aerial skiing standings coming into the Sochi Olympics, but the 34-year-old has never medaled. She finished 11th overall in aerials in 2010 and 19th overall in 2006.
Cook scored an 82.27 on her first jump to advance to the second round of the event, sitting in fifth place before attempting the full-double full jump again in the second round. But she was unable to stick her landing on the second jump, scoring a 64.50 that would have require quite a bit of help for her to advance to the third and final round.
| i don't know |
March 2, 1904 saw the birth of what famous American author, who once wrote under the pen name Theo LeSieg? | Dr. Seuss - Author, Illustrator - Biography.com
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quotes
“If you can see things out of whack, then you can see how things can be in whack.”
“I don't write for children, I write for people. Once a writer starts talking down to kids, he's lost. Kids can pick up on that kind of thing.”
“I feel my greatest accomplishment was getting rid of Dick and Jane and encouraging students to approach reading as a pleasure, not a chore.”
“I had no ability as a novelist. I spent all my time trying to get rid of extraneous words and boiling the thing down to the essentials. But a novelist's technique is putting those extraneous, nonessential things back in.”
“Once in a while, I have to write something in an adult magazine. I get so frustrated; I wish I could get rid of all the garbage of excess words; I could draw what I want to say in a second.”
“I'm honest enough with myself to know I wouldn't have written the Great American Novel, but I think I could have created some fine paintings.”
“I don't like audiences. I prefer to make my mistakes in private.”
“I enjoy making a statement, but I don't think one has to always do so to feel worthwhile.”
“Whenever things go a bit sour in a job I'm doing, I always tell myself, 'You can do better than this.'”
“Let me think about it."[When asked on his deathbed if he had any final thoughts]”
“All of my books are based on truth, an exaggerated truth.”
“You can get help from teachers, but you are going to have to learn a lot by yourself, sitting alone in a room.”
“In the interest of commerce, there's a happy ending. The other ending is unacceptable."[On his book You're Only Old Once]”
“I have a feeling if I could stay out of hospitals, I might live forever.”
“Be who you are and say what you feel, because those who mind don't matter and those who matter don’t mind.”
“Think left and think right and think low and think high. Oh, the thinks you can think up if only you try.”
“You have 'em; I'll entertain 'em." (When asked about having children of his own.)”
“I like nonsense, it wakes up the brain cells. Fantasy is a necessary ingredient in living; it's a way of looking at life through the wrong end of a telescope. Which is what I do, and that enables you to laugh at life’s realities.”
Dr. Seuss
Dr. Seuss - Mini Biography (TV-PG; 4:10) Theodor Seuss Geisel was born in 1904 in Massachusetts. He published his first children's book, “And to Think That I Saw It on Mulberry Street,” under the name of Dr. Seuss in 1937. He has since become a world renowned children's author.
Synopsis
Theodor Seuss Geisel was born on March 2, 1904, in Springfield, Massachusetts. He published his first children's book, And to Think That I Saw It on Mulberry Street, under the name of Dr. Seuss in 1937. Next came a string of best sellers, including The Cat in the Hat and Green Eggs and Ham. His rhymes and characters are beloved by generations.
Early Life
Theodor Seuss Geisel was born on March 2, 1904, in Springfield, Massachusetts, to Theodor Robert Geisel, a successful brewmaster, and Henrietta Seuss Geisel. At age 18, Geisel left home to attend Dartmouth College, where he became the editor in chief of its humor magazine, Jack-O-Lantern. When Geisel and his friends were caught drinking in his dorm room one night, in violation of Prohibition law, he was kicked off the magazine staff, but continued to contribute to it using the pseudonym "Seuss."
After graduating from Dartmouth, Geisel attended Oxford University in England, with plans to eventually become a professor. While at Oxford, he met his future wife, Helen Palmer, whom he married in 1927. That same year, he dropped out of Oxford, and the couple moved back to the United States.
Early Career
Upon returning to America, Geisel decided to pursue cartooning full-time, and his articles and illustrations were published in numerous magazines, including LIFE and Vanity Fair. A cartoon that he published in the July 1927 issue of The Saturday Evening Post, his first using the pen name "Seuss," landed him a staff position at the New York weekly Judge. He then worked for Standard Oil in the advertising department, where he spent the next 15 years. His ad for Flit, a common insecticide, became nationally famous.
Around this time, Viking Press offered Geisel a contract to illustrate a children's collection called Boners. The book sold poorly, but it gave him a break into children's literature. Geisel's first book, And to Think That I Saw It on Mulberry Street, was rejected 27 times before it was finally published by Vanguard Press in 1937.
At the start of World War II, Geisel began contributing weekly political cartoons to the liberal publication PM Magazine. In 1942, too old for the World War II draft, Geisel served with Frank Capra 's Signal Corps, making animated training films and drawing propaganda posters for the Treasury Department and the War Production Board.
Commercial Success
Following the war, Geisel and Helen purchased an old observation tower in La Jolla, California, where he would write for at least eight hours a day, taking breaks to tend his garden. He wrote and published several children's books in the coming years, including If I Ran the Zoo and Horton Hears a Who!
A major turning point in Geisel's career came when, in response to a 1954 LIFE magazine article that criticized children's reading levels, Houghton Mifflin and Random House asked him to write a children's primer using 220 vocabulary words. The resulting book, The Cat in the Hat, was published in 1957 and was described by one critic as a "tour de force." The success of The Cat in the Hat cemented Geisel's place in children's literature.
READ MORE: Words of Wisdom from Dr. Seuss
Over the next several years, Geisel would write many more books, both in his new, simplified vocabulary style and using his older, more elaborate technique. His later credits include favorites such as Green Eggs and Ham and How the Grinch Stole Christmas. In 1966, with the help of eminent cartoonist Chuck Jones, The Grinch was adapted into an animated film.
Personal Life and Later Years
In October 1967, Helen, who was suffering from both cancer and the emotional pain caused by an affair Geisel had with their longtime friend Audrey Stone Diamond, committed suicide. Geisel married Audrey the following year.
Theodor Seuss Geisel, best known as Dr. Seuss, died on September 24, 1991, at the age of 87, in La Jolla, California. In 1997, the Art of Dr. Seuss project was launched. Today, limited-edition prints and sculptures of Geisel's artworks can be found at galleries alongside the works of Rembrandt, Picasso and Miro. Sixteen of his books are on Publishers Weekly's list of the "100 Top-Selling Hardcover Children's Books of All-Time."
In February 2015, Random House Children’s Books announced it plans to publish a new Dr. Seuss book entitled What Pet Should I Get? after the manuscript and sketches were found by the author’s widow in the couple’s home.
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| Dr. Seuss |
At the end of every episode of Lifestyles of the Rich and Famous, Robin Leach wished the viewer what kind of wishes? | 1000+ images about Seussical Art on Pinterest | Dr. seuss, Political cartoons and 1 fish 2 fish
Dr. Seuss Political Cartoon (Note: The posting of this cartoon doesn't necessarily mean the poster agrees with it. It was posted in the name of scholarship.)
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According to the nursery rhyme, what did Peter Peter Pumpkin Eater have? | 8 Nursery Rhymes With Bizarre Hidden Meanings, Because Peter Pumpkin Eater Is A Murderer
8 Nursery Rhymes With Bizarre Hidden Meanings, Because Peter Pumpkin Eater Is A Murderer
By JR Thorpe
Apr 3 2015
Nursery rhymes help us learn the basics of language during our early childhood years — but now that you've outgrown your diapers, you may have noticed that a lot of nursery rhymes don't make sense to our modern ears. Pop goes the weasel? Since when do weasels pop?! This disconnect can be partially explained by history: many nursery rhymes are hundreds of years old , and so involve outdated turns of phrase. Popping the weasel, for example, was actually 18th century slang for pawning your coat, making that whole weaselly rhyme an irreverent song about selling your jacket in order to afford a night out on the town. Which still isn't exactly a traditional story to tell children .
And the weirdness of traditional nursery rhymes doesn't end there: a few seemingly innocent rhymes actually contain sly references to political events of the day. "Georgie Porgie" (who kissed the girls and made them cry), for instance, isn't about an over-affectionate toddler, but rather George Villiers, a courtier of England's King James I who seduced a lot of women and ran away from their irate husbands. And "Mary, Mary, quite contrary" is actually Mary Queen Of Scots — and her silver bells, cockle shells and "pretty maids" were not implements of gardening, but rather torture devices she used while persecuting the Protestants during her reign. Whoops.
For stories that are a key part of most of our childhoods, nursery rhymes are often blatantly weird once you start thinking about them. Here are 8 of the strangest ones, with their bizarre meanings revealed. Some are just silly, some are violent and inappropriate for kids; but you might want to think twice before reciting any of them the next time you babysit.
8. If You Sneeze On A Monday
If you sneeze on Monday, you sneeze for danger;
Sneeze on a Tuesday, kiss a stranger;
Sneeze on a Wednesday, sneeze for a letter;
Sneeze on a Thursday, something better.
Sneeze on a Friday, sneeze for sorrow;
Sneeze on a Saturday, joy tomorrow.
What It's Really About: Luck.
Sneezing is an act with a superstitious undercurrent in many cultures. Traditional Flemish belief dictates that a person who sneezes in a conversation will prove that he's telling the truth, while in northern India, it's bad luck to sneeze before undertaking a new task. Nursery rhymes that aim to "teach" us about superstition aren't all that uncommon, but this one is so out-there that it takes the cake (or the handkerchief.)
7. Little Jack Jelf
Was put on a shelf
Because he could not spell "pie";
When his aunt, Mrs. Grace,
Saw his sorrowful face,
She could not help saying, "Oh, fie!"
What It's Really About: Corporal punishment at school.
Jack Jelf actually got off pretty lightly — in the 17th and 18th centuries, British schoolchildren were often subjected to intense corporal punishment when they couldn't master their lessons. Aside from the famous dunce's cap (named after the Scottish intellectual John Duns Scotus , whose teachings were seen as such nonsense that his name became synonymous with stupidity), boys at schools could be "birched" (hit with birch twigs), hit with a hickory stick, or made to stand outside with placards around their necks . The "shelf", in this case, was the shelf behind the teacher's desk , where poor students could be exiled so that everybody would stare at them for the rest of the day.
6. A Carrion Crow Sat On An Oak
[Embed]
Ladybird, ladybird, fly away home
Your house is on fire and your children are gone,
All except one called Anne
For she has crept under the frying pan.
What It's Really About: People being burned at the stake (maybe).
This one dates from at least 1744, and we still don't know what exactly it's about. Some theories hold that it might be about Catholics being burned at the stake if they were caught saying Mass in anti-Protestant England. It also might just be about how killing a ladybug (a.k.a. a ladybird) was considered to be bad luck . But either way, it's a singularly strange thing to recite when a hapless insect just happens to land on your cardigan.
4. Tell Tale Tit
Had a wife and couldn't keep her;
He put her in a pumpkin shell,
And there he kept her very well.
What It's Really About: Murder.
The wife that "couldn't be kept" in this rhyme didn't keep running away or anything — rather, she was supposedly a prostitute. Historians believe that Peter the pumpkin-eater tired of his wife's extra-curricular activities, then murdered her and hid her body in a pumpkin. An even more outrageous interpretation is that it's about the 13th century English King John, who famously bricked a rebellious noble's wife into a wall to starve to death . Either way, this is a rhyme that everybody at the time would have understood was ripped from the headlines.
1. Who Killed Cock Robin?
[Embed]
I saw him die."
What It's Really About: Pagan gods or Robin Hood.
This one is so strange that nobody knows quite what to make of it. Some believe it was created in reference to an old pagan god of England, the Holly King , who was symbolically "killed" every winter. Or could it be about the death of the Norse god Balder , god of light and purity, who was shot with an arrow made of mistletoe? Could it be written in honor of the British Prime Minister Robert Walpole , who was also known as Robin? Or Robin Hood? Historians aren't certain — but the image of every bird around (plus, for no apparent reason, a bull) having an elaborate funeral for a murdered bird is a perfect combination of the weird, grotesque and violent imagery that is commonplace in nursery rhymes. Sleep tight, little ones!
| wife and couldn t keep her |
Which of the two main political parties had it's founding on Feb 28, 1854 in Ripon, WI? | Top 10 Children’s Rhymes That Have Hidden Meanings - Toptenz.net
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January 24, 2014
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I’m pretty sure that almost all of us at some point in our lives loved hearing and chanting children’s rhymes. Who wouldn’t? They are fun, catchy and somewhat nonsensical. But did you know that many of these seemingly innocent nursery rhymes actually have hidden meanings —and not just ordinary meanings but gruesome, terrifying connotations?
Yes, you read that right! Most nursery rhymes that we grew up hearing (and whether we’d like to admit or not still chant from time to time) depict dark themes such as death, mass persecution, murder, bizarre acts, immorality, domestic violence, and so much more.
10. Georgie Porgie
Georgie Porgie, pudding and pie,
Kissed the girls and made them cry;
When the boys came out to play,
Georgie Porgie ran away.
This seemingly child-friendly nursery rhyme actually has a sexual undertone to it. Georgie Porgie is a caricature of George Villiers, a bisexual nobleman who lived from 1592 to 1628. George was greatly favored by King James I. His friendship with the king was so intimate that he was able to gain immense power and position in just a short period of time—he was named the first Duke of Buckingham at the age of 31.
George and King James I were rumored to be lovers due to their intimate friendship, and accounts from various court diaries and letters proved this to be true. King James I even declared his love for George by publicly declaring, “You may be sure that I love the Earl of Buckingham more than anyone else, and more than you who are here assembled. I wish to speak in my own behalf, and not to have it thought to be a defect, for Jesus Christ did the same, and therefore I cannot be blamed. Christ had his John, and I have my George.”
Though George had a covert romantic affair with the king, he was a womanizer (…kissed the girls and made them cry…), and had sexual relationships with numerous women, including the daughters and even the wives of many English noblemen. Because the king favored him, the English noblemen were incapable of prosecuting him, thus explaining the line, “when the boys came out to play, Georgie Porgie ran away”.
9. Rock-a-Bye, Baby
Rock a bye baby on the tree top,
When the wind blows the cradle will rock,
When the bough breaks the cradle will fall,
And down will come baby, cradle and all.
There are many theories explaining the origin of this all-time favorite lullaby, but perhaps the most intriguing is the one that comes from a Native American custom practiced hundreds of years ago.
Legend has it that a certain pilgrim saw an American Indian mother hanging her baby from a tree; the baby was inside a birch bark cradle (…rock a bye baby on the tree top…). The idea behind this custom is two-fold. By suspending her baby from a tree , the Native American mother can work freely, knowing that her child is safe from animal predators. The other reason , which is depicted in the rhyme, is that the winds blowing above will lull the baby to sleep (…when the wind blows the cradle will rock…) However, this custom could be potentially fatal for the baby since “when the bough breaks the cradle will fall, and down will come baby, cradle and all.”
8. Ladybird, Ladybird
Ladybird, ladybird fly away home,
Your house in on fire and your children are gone
The person referred to as “Ladybird” in this nursery rhyme is Mary, the Mother of Jesus and a prominent figure in Catholicism. During the time this rhyme was written, Catholic believers all over England were heavily persecuted. Those who disobeyed the Act of Uniformity, which required all citizens to attend the services conducted by the Church of England, faced serious punishment such as being imprisoned or put to death.
Despite the deadly consequences they could face, many Catholic priests and believers still practiced their faith—they would conduct Mass on the open fields.
The line, “Your house is on fire and your children gone”, signifies the death of many Catholic priests and believers under the hand of the Protestant monarch who ruled during this period of time. Many of them were burned alive, hanged, or sawn.
7. Ride a Cock Horse
Ride a cock horse to Banbury Cross
To see a fine lady upon a white horse;
With rings on her fingers and bells on her toes,
She shall have music wherever she goes.
Unlike” Ladybird, Ladybird”, this rhyme does not have a horrible undertone, but rather it depicts a bizarre act of goodness from an English female historical figure.
The woman referred to in the rhyme is Lady Godiva , the wife of Leofric, the Earl of Mercia. Leofric caused so much anger in his people by imposing new heavy taxes on them. Lady Godiva sided with her countrymen and requested her husband to lower the taxes. The Earl agreed but with one condition: Lady Godiva had to ride a horse through the streets of Coventry without any clothes on.
Surprisingly, the brave lady agreed. As a manifestation of their respect and admiration for the lady’s act of bravery and goodness, the people of Coventry agreed to stay inside their homes and not to peep out through their windows.
On the appointed day, Lady Godiva rode a white horse through the streets of Coventry wearing nothing but her rings and bells on her toes. The purpose of the bells was to inform the people that she was coming, giving them time to go inside their homes, close their windows, or face the opposite direction.
6. Three Blind Mice
Three blind mice, three blind mice,
See how they run!
They all ran after the farmer’s wife,
Who cut off their tails, with a carving knife.
Did you ever see such a thing in your life,
As three blind mice.
Unknown to many of us, the term “Bloody Mary” and the rhyme “Three Blind Mice” actually have one thing in common—they refer to the same ruthless person.
The farmer’s wife depicted in this rhyme is Mary I , the daughter of King Henry VIII and the Catholic Queen, Catherine, who ruled England from 1553 to 1558. She is known as “Bloody Mary” because of her atrocious acts; she ordered the torture and execution of many Protestants during her short-lived reign.
On the other hand, the three blind mice referred to in the rhyme are three Protestant noblemen who were charged of secretly planning to kill Queen Mary, and no, they were not blind. As punishment, these three men suffered a horrible death—they were burned alive!
5. There Was an Old Woman Who Lived in a Shoe
There was an old woman who lived in a shoe,
She had so many children she didn’t know what to do!
So she gave them some broth without any bread,
And she whipped them all soundly and sent them to bed!
Among the nursery rhymes discussed in this list, this is the only one whose obvious meaning is already gruesome or bizarre. I mean, it talks about domestic violence, specifically child abuse! (…gave them some broth without any bread and she whipped them all soundly…)
There is even one version that states that the mother goes to town to buy coffins for her children.
Then out went th’ old woman to bespeak ‘em a coffin,
And when she came back, she found ‘em all a-loffeing.
But behind this gruesome obvious meaning lies a historical significance worthy to be explored. Some experts suggest that the old woman is actually a “he”. Yes, you read that right. The old woman referred to in the rhyme is a man, King George II to be exact. He was called “old woman” by his enemies because he started the fashion trend of wearing white powdered wigs.
The word “children” in the rhyme represented the members of the Parliament while the bed symbolized the Houses of Parliament. Just like in the rhyme, those members who did not follow or agreed with King George faced his (old woman’s) wrath; they were “whipped…all soundly and sent…to bed!”
4. Peter, Peter, Pumpkin Eater
Peter, Peter, pumpkin-eater,
Had a wife and couldn’t keep her;
He put her in a pumpkin shell,
And there he kept her very well.
“Peter, Peter, Pumpkin Eater” is one of those nursery rhymes that seem innocent and nonsensical at first glance, but if you take a closer look, you’ll discover that it has a gruesome hidden message. This nursery rhyme talks about relationships, infidelity, and murder.
Just like “Rock-a-Bye Baby”, this rhyme did not originate from Britain but rather from America . It is generally believed that Peter’s beloved wife was a hooker . Since he could not keep his spouse from having sexual affairs with numerous men, he decided to kill her and hide her body in an absurdly large pumpkin.
There’s another version of this rhyme that goes like this.
Eeper Weeper, chimbly (chimney) sweeper,
Had a wife but couldn’t keep her.
Had another, didn’t love her,
Up the chimbly he did shove her.
And yet, here’s another more gruesome, vivid version.
Peter, my neeper,
And he couidna’ keep her,
He pat i’ the wa’,
And lat a’ thet mice eat her.
This rhyme suggests that women ought to love and be faithful to their husbands or else, they could suffer grave fatal consequences. As what the rhyme suggests, they could be murdered by their husbands and then hidden in a pumpkin, shoved in a chimney, or fed to rats.
3. Ring Around the Rosy
Ring around the rosy
“Ashes, Ashes”
We all fall down.
For sure, when you read the lyrics of this rhyme the first picture that comes into your mind are children gleefully holding hands together, giggling, and doing the thing they’re most good at—having fun. Certainly, the images of suffering and death do not cross your mind when you hear this rhyme being chanted. However, this seemingly innocent rhyme does indeed depict death, in fact, mass death.
Experts believe that this nursery rhyme depicts the Black Death or Bubonic Plague —a disease that ravaged London in 1665 and killed millions of people. The line “Ring around the rosy” symbolizes one of the prominent symptoms of the plague—a ring-like red rash on the skin. Many people believed that the disease was airborne. To protect themselves from getting infected, they would carry around poises or sweet-smelling herbs in their pockets.
The hidden meaning behind the last two lines is pretty much obvious. It signifies the death of millions of people infected by the Bubonic Plague . To prevent the disease from spreading, the corpses were cremated (…ashes, ashes…). Thankfully, a massive fire accident eradicated the Bubonic Plague. In 1666, the Great Fire of London occurred. This accident killed the rats, which were the primary carriers of the plague.
2. Oranges and Lemons
Say the bells of St. Clement’s.
You owe me five farthings,
Say the bells of St. Martin’s.
Here comes a candle to light you to bed,
Here comes a chopper to chop off your head.
Chip chop chip chop
The last man’s dead!
This is one of those nursery rhymes that start off innocently and gleefully, and then suddenly turns gruesome. “Oranges and Lemons” may seem harmless, but it actually has a disturbing historical implication.
Many believe that this children’s rhyme originated from a certain dance form called Square Dance. No one knows the exact lyrics that accompanied this dance, but many speculate that the words were identical to that of “Oranges and Lemons”.
Interestingly, children of this time sang this rhyme while playing a game bearing the same title as that of the said rhyme—“Oranges and Lemons”. The game would end with a certain kid trapped between the two connected arms of two other children. The ending scenario of this game depicted the cutting off of the heads of convicted criminals and debtors.
It is interesting to note that the last disturbing four lines of the rhyme were added by the children who witnessed the gruesome scene of public executions prevalent during this time.
1. Mary, Mary Quite Contrary
Mary, Mary quite contrary
How does your garden grow?
With silver bells and cockleshells
And pretty Maids all in a row.
This rhyme deserves to be in the number one spot because among the rhymes discussed in this list this one has the most gruesome hidden meaning.
As you might have guessed, the “Mary” described in this rhyme is no other than Mary I of England, the same “ Bloody Mary ” who executed the three Protestant noblemen. The first line, “how does your garden grow”, refers to the expanding graveyards of innocent Protestants whom Mary ordered to be tortured and murdered for not converting into Catholicism.
Experts suggest that the words “cockleshells” and “silver bells” refer to two torture devices used during this period of time. The former is a kind of torturing machine placed in the private parts of the victims while the latter refers to a kind of thumbscrews that smashes one’s thumbs if they are fastened. Finally, the word “maids” is said to represent “the maiden”—a torturing device used to behead people.
Now, that you already know the gruesome hidden meanings behind these nursery rhymes would you still chant them to your little ones?
| i don't know |
Who's missing: Jerry Seinfeld, Michael Richards, Jason Alexander | Seinfeld Reunion! Jerry Seinfeld, Jason Alexander and Michael Richards Lunching for a Good Cause Makes Us Yearn for the Past | E! News
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Seinfeld Reunion! Jerry Seinfeld, Jason Alexander and Michael Richards Lunching for a Good Cause Makes Us Yearn for the Past
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Anyone up for a tuna sandwich with coffee? Or better yet, a chicken sandwich with tea?!
Jerry Seinfeld , George—er, Jason Alexander and Michael Richards reunited today at the inaugural Los Angeles Fatherhood Initiative Lunch to benefiting Baby Buggy, held at The Palm steakhouse in Beverly Hills.
And just the sight of them all together made us beeline for the DVR to record the Seinfeld reruns that thankfully are always on.
Seriously, seeing Julia Louis-Dreyfus with them probably would have sent us into overdrive. (While Richards has been a guest on Seinfeld's web series, Comedians in Cars Getting Coffee, we must ask: Can't they take a car out that seats four?)
A photo posted by Spike Feresten (@spikeferesten) on
Mar 4, 2015 at 3:35pm PST
"It's a Seinfeld reunion at #BabyBuggyFatherhoodFantastic event and charity. @LoveRecycled@esquirenetwork #CarMatchmaker," Seinfeld writer Spike Feresten shared a candid pic of the trio, Jerry mid-laugh at whatever was being said by the other two.
"I was honored to share this day with amazing fathers whom I also call friends," Seinfeld said after the luncheon, which according to event organizers raised $250,000. "The work that Baby Buggy does is instrumental in a father's life, and in the lives of their children, and I am grateful that so many people came out to support it."
Baby Buggy, a nonprofit that supplies families in need with child care essentials, was founded in 2001 by Jessica Seinfeld—so this wasn't just a TV-family affair.
"#Repost @jessseinfeld Thank you @rag_bone@esquiremag #unitedtalentagency#johnsonandjohnson for supporting the launch of#babybuggyfatherhood Los Angeles. I [heart] our amazing@loverecycled team," Jessica posted on Instagram . "What a privilege it is to work with such dedicated, talented souls. You are proof that when one surrounds themselves with greatness, success is imminent."
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| Julia Louis-Dreyfus |
Formerly under the US Department of the Treasury, the US Secret Service, currently operates under the watchful eye of what agency? | Jason Alexander | American actor | Britannica.com
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American actor
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Scene from the television series Seinfeld, with actors (from far left) Jason Alexander, Julia Louis-Dreyfus, Michael Richards, and Jerry Seinfeld.
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Cast of Seinfeld (from left to right): Michael Richards, Jason Alexander, Julia Louis-Dreyfus, and Jerry Seinfeld.
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What bar favorite consists of ginger ale, orange juice, and grenadine? | cocktails Archives | 583 Park Avenue
583 Park Avenue
Contact
Tag Archives: cocktails
Hosting an event for kids presents party planners with a few unique challenges. One of the true tests of a party planner’s skill is creating a kid-friendly menu that parents, grandparents and other adults will also enjoy. Not only does this meal have to be tasty and nutritious, it also has to fit the rare requirement of being eaten when all the children really want to do is get back to the fun.
When planning a gala or bar mitzvah at 583 Park Avenue, our culinary team will work with you to create a custom menu of appetizers, main courses and desserts to fit the tastes of all your guests, but don’t forget, food isn’t everything. Have you considered how much fun your guests could have with a “kids only” drink menu? Here are 6 Kid-Friendly Cocktails that will make a splash at your next event.
Sparkling Grape Juice Mimosa
Sparkling White Grape Juice
Cranberry Juice
A brunch favorite adapted for youngsters. Kids will love the foam and mix of colors, and parents will love that it packs a serving of fruit. A colorful straw and slice of orange for garnish will put the finishing touch on this mocktail made for early afternoon enjoyment.
Bartender Instructions:
Two parts OJ to one part sparkling white grape juice. Splash of cranberry juice for color. Serve in a Champagne flute.
Shirley Temple
Cherries
Ice
The original mocktail and a bartending classic, The Shirley Temple has been delighting children at weddings, bar mitzvahs and cocktail receptions for years. While there are many variations on the classic, some using using cola, cranberry juice or even pineapple juice, the original Ginger Ale and Grenadine combo can’t be beat. Don’t forget the extra cherries.
Bartender Instructions:
Fill a glass with ice and 1/2 cup ginger ale. Add 1 tbsp. Grenadine until warm red color is achieved. Garnish with 2-3 cherries. Include extra cherries as appropriate.
Smoothies
Ice
Etc!
Not every special addition to your kids’ drink menu needs to look or sound like a real cocktail. Smoothies are a healthy and delicious treat that can be made in any number of varieties. While we wouldn’t recommend allowing for complete customization, one or two smoothie selections will add a great carbonation free option to your menu.
Bartender Instructions:
Blend milk, yogurt, fruit, ice and etc. until smooth. Add additional ingredients to taste.
Clear Carbonated Beverage
Whipped Cream
A creamy and fizzy option that looks like it came straight out of an Italian café. While the recipe calls for lemon-lime soda, a healthier low-cal version can be made using carbonated water and sugar free raspberry syrup.
Bartender Instructions:
Add 1 tbsp. of Raspberry Syrup to 1/2 cup of carbonated beverage. Top with a generous layer of whipped cream.
Lemonade
Cream Soda
While your kids may not be familiar with Roald Dahl’s Big Friendly Giant, the creature’s signature drink will be sure to satisfy. One thing to remember: While many of these drinks can be made in bulk, a Frobscottle must be made to order and served immediately to prevent curdling.
Bartender Instructions:
Blend the kiwis, lime Juice and yogurt until smooth. Strain. Stir in the lemonade and pour in the cream soda. Serve the beverage immediately for optimum fizz (and to prevent curdling).
Mint Chocolate Ice Cream
Ice
Finally one for the chocolate lovers. While this drink may strike you as more of a dessert than a cocktail, this luxurious take on the classic chocolate milkshake will satisfy children of all ages.
Bartender Instructions:
Coat the inside of a martini glass with chocolate syrup. Blend two parts ice cream to one part chocolate milk. Add ice as necessary. Garnish with a peppermint
Would you like more details about hosting your next Gala or Cocktail Reception at 583 Park Avenue? CONTACT US today. One of our event coordinators will be in touch with you shortly.
Hosting an event for kids presents party planners with a few unique challenges. One of the true tests of a party planner’s skill is creating a kid-friendly menu that parents, grandparents and other adults will also enjoy. Not only does this meal have to be tasty and nutritious, it also has to fit the rare requirement of being eaten when all the children really want to do is get back to the fun.
When planning a gala or bar mitzvah at 583 Park Avenue, our culinary team will work with you to create a custom menu of appetizers, main courses and desserts to fit the tastes of all your guests, but don’t forget, food isn’t everything. Have you considered how much fun your guests could have with a “kids only” drink menu? Here are 6 Kid-Friendly Cocktails that will make a splash at your next event.
Sparkling Grape Juice Mimosa
Mint Chocolate Ice Cream
Ice
Finally one for the chocolate lovers. While this drink may strike you as more of a dessert than a cocktail, this luxurious take on the classic chocolate milkshake will satisfy children of all ages.
Bartender Instructions:
Coat the inside of a martini glass with chocolate syrup. Blend two parts ice cream to one part chocolate milk. Add ice as necessary. Garnish with a peppermint
Would you like more details about hosting your next Gala or Cocktail Reception at 583 Park Avenue? CONTACT US today. One of our event coordinators will be in touch with you shortly.
| Shirley Temple |
March 4, 1791 saw the first state after the 13 colonies to join the union. What state was it? | cocktails Archives | 583 Park Avenue
583 Park Avenue
Contact
Tag Archives: cocktails
Hosting an event for kids presents party planners with a few unique challenges. One of the true tests of a party planner’s skill is creating a kid-friendly menu that parents, grandparents and other adults will also enjoy. Not only does this meal have to be tasty and nutritious, it also has to fit the rare requirement of being eaten when all the children really want to do is get back to the fun.
When planning a gala or bar mitzvah at 583 Park Avenue, our culinary team will work with you to create a custom menu of appetizers, main courses and desserts to fit the tastes of all your guests, but don’t forget, food isn’t everything. Have you considered how much fun your guests could have with a “kids only” drink menu? Here are 6 Kid-Friendly Cocktails that will make a splash at your next event.
Sparkling Grape Juice Mimosa
Sparkling White Grape Juice
Cranberry Juice
A brunch favorite adapted for youngsters. Kids will love the foam and mix of colors, and parents will love that it packs a serving of fruit. A colorful straw and slice of orange for garnish will put the finishing touch on this mocktail made for early afternoon enjoyment.
Bartender Instructions:
Two parts OJ to one part sparkling white grape juice. Splash of cranberry juice for color. Serve in a Champagne flute.
Shirley Temple
Cherries
Ice
The original mocktail and a bartending classic, The Shirley Temple has been delighting children at weddings, bar mitzvahs and cocktail receptions for years. While there are many variations on the classic, some using using cola, cranberry juice or even pineapple juice, the original Ginger Ale and Grenadine combo can’t be beat. Don’t forget the extra cherries.
Bartender Instructions:
Fill a glass with ice and 1/2 cup ginger ale. Add 1 tbsp. Grenadine until warm red color is achieved. Garnish with 2-3 cherries. Include extra cherries as appropriate.
Smoothies
Ice
Etc!
Not every special addition to your kids’ drink menu needs to look or sound like a real cocktail. Smoothies are a healthy and delicious treat that can be made in any number of varieties. While we wouldn’t recommend allowing for complete customization, one or two smoothie selections will add a great carbonation free option to your menu.
Bartender Instructions:
Blend milk, yogurt, fruit, ice and etc. until smooth. Add additional ingredients to taste.
Clear Carbonated Beverage
Whipped Cream
A creamy and fizzy option that looks like it came straight out of an Italian café. While the recipe calls for lemon-lime soda, a healthier low-cal version can be made using carbonated water and sugar free raspberry syrup.
Bartender Instructions:
Add 1 tbsp. of Raspberry Syrup to 1/2 cup of carbonated beverage. Top with a generous layer of whipped cream.
Lemonade
Cream Soda
While your kids may not be familiar with Roald Dahl’s Big Friendly Giant, the creature’s signature drink will be sure to satisfy. One thing to remember: While many of these drinks can be made in bulk, a Frobscottle must be made to order and served immediately to prevent curdling.
Bartender Instructions:
Blend the kiwis, lime Juice and yogurt until smooth. Strain. Stir in the lemonade and pour in the cream soda. Serve the beverage immediately for optimum fizz (and to prevent curdling).
Mint Chocolate Ice Cream
Ice
Finally one for the chocolate lovers. While this drink may strike you as more of a dessert than a cocktail, this luxurious take on the classic chocolate milkshake will satisfy children of all ages.
Bartender Instructions:
Coat the inside of a martini glass with chocolate syrup. Blend two parts ice cream to one part chocolate milk. Add ice as necessary. Garnish with a peppermint
Would you like more details about hosting your next Gala or Cocktail Reception at 583 Park Avenue? CONTACT US today. One of our event coordinators will be in touch with you shortly.
Hosting an event for kids presents party planners with a few unique challenges. One of the true tests of a party planner’s skill is creating a kid-friendly menu that parents, grandparents and other adults will also enjoy. Not only does this meal have to be tasty and nutritious, it also has to fit the rare requirement of being eaten when all the children really want to do is get back to the fun.
When planning a gala or bar mitzvah at 583 Park Avenue, our culinary team will work with you to create a custom menu of appetizers, main courses and desserts to fit the tastes of all your guests, but don’t forget, food isn’t everything. Have you considered how much fun your guests could have with a “kids only” drink menu? Here are 6 Kid-Friendly Cocktails that will make a splash at your next event.
Sparkling Grape Juice Mimosa
Mint Chocolate Ice Cream
Ice
Finally one for the chocolate lovers. While this drink may strike you as more of a dessert than a cocktail, this luxurious take on the classic chocolate milkshake will satisfy children of all ages.
Bartender Instructions:
Coat the inside of a martini glass with chocolate syrup. Blend two parts ice cream to one part chocolate milk. Add ice as necessary. Garnish with a peppermint
Would you like more details about hosting your next Gala or Cocktail Reception at 583 Park Avenue? CONTACT US today. One of our event coordinators will be in touch with you shortly.
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In what Arizona city do the Seattle Mariners hold their spring training camp? | Seattle Mariners Spring Training - Spring Training Online
You are here: Home > Seattle Mariners Spring Training
Seattle Mariners Spring Training
310L, 385LC, 410C, 385RC, 310R
Surface
Saturday, December 10, 10 a.m. MST
Ticket Line
16101 N. 83rd Av., Peoria, AZ 85382
Directions
The ballpark is best accessed from the outer loop of Phoenix highways and freeways. From Hwy. 101 (Agua Fria Freeway), take Bell Road and go east to 83rd Avenue. Go south (to the right) and the sports complex will be to the left. It’s well-marked and you’ll see the place from the freeway.
Seattle Mariners Spring Training: Party in Peoria
Peoria Stadium is considered by many to be among the best ballparks in the Cactus League, despite being one of the oldest these days. The Seattle Mariners and the San Diego Padres share the ballpark, so a visit to Peoria – a suburb of Phoenix – during any point in spring training will undoubtedly find a game going on, but 2015 renovations tightened the supply of tickets available for most dates.
The complex was the first MLB spring-training facility shared by two teams. (There had been situations where two teams played games in the same ballpark, but they maintained separate training facilities.) Today, of course, almost every new training camp in the Cactus League is built for two teams.
The Peoria Stadium complex contains two 40,000-square-foot clubhouses, indoor and outdoor batting tunnels, 12 major-league-sized practice fields (two lighted), and four half fields. The extensive facility allows both teams and their minor-league squads to practice simultaneously.
More than any other Cactus League facility, any spring-training game at Peoria Stadium feels like a real event. There’s always a lot of traffic and excitement surrounding a game – both the Padres and the Mariners draw well during spring training – and the games certainly sport a carnival-like atmosphere. There are some who decry the location of the ballpark (set, essentially, in the midst of a series of strip malls), but fans seem to love the wide variety of restaurants within walking distance of the park. The ballpark and the games also feel like they are part of the local community: you can expect to see many members of the Peoria Diamond Club – the “Red Shirts” at games – who raise funds for local charities.
The renovation of the spring home of the San Diego Padres and Seattle Mariners is a three-phase project. The first renovation phase focused on the player facilities, as clubhouses were expanded and upgraded. The second renovation, which took place this offseason, address fan features and comfort. Approximately 1,000 new seats were installed (most with cupholders), including two new rows in front of the existing seating. The playing field was lowered and seating down the line reoriented to home plate.
The ballpark’s expanded footprint also includes a new 4,900-square-foot building on the third-base side that features a new team store, restrooms, bar, and second-level group area.
A new concrete concourse expanded capacity in the outfield and left-field corner, with the wraparound concourse now a spacious place to stroll before or during a game. The signature berm remains, but the addition of a large 2,400-square-foot social pavilion – designed for groups, but open to the public if not reserved by a group – and shaded bar area provides a perfect space to hang out with friends.
This social pavilion isn’t the only shaded area in the outfield concourse: a 60-foot Four Peaks Brewing Company tent serves Short Hop Session IPA, Kilt Lifter, Sunbru and Peach Ale, along with other craft-beer offerings, while a right-field all-you-can-east tent offers ballpark goodies for $20.
All in all, the changes raised total ballpark capacity to 12,339.
Spring Training History
The Seattle Mariners have trained in Arizona since their American League inception in 1977: from 1977 to 1993 the team trained in Tempe, while in 1994 the team moved to the new ballpark in Peoria.
| Peoria |
Current home to former UW stud John Brockman, what is the NBA team that calls Milwaukee home? | Spring Training Practice
Angels, ( Tempe )
The Angels make use of six-and-a-half practice fields that are adjacent to Tempe Diablo Stadium. Fans can park in the stadium's parking lot and make the short walk from there to the practice facilities, which are open to the public as soon as the Angels start practicing (usually around 9:30 a.m.).
A's, ( Mesa )
The A's took over the Cubs' old (and since renovated) training grounds in Mesa in 2015, so 2016 will be the team's second year of holding practices at Fitch Park, which is a half-mile south of Hohokam Stadium. Fitch Park has four fields that are fan accessible and a medium-sized parking lot is near the complex's gate, which is usually unlocked around 8 a.m.
Brewers, ( Maryvale )
The Brewers have a four-and-a-half field training complex directly behind their ballpark in the western Phoenix neighborhood of Maryvale. Plenty of paved parking is next to the team's practice facilities, which fans can wander through well before practice begins.
Cubs, ( Mesa )
The Cubs were a 2014 beneficiary of a new spring training stadium and complex, and the practice fields and Sloan Park are adjacent to each other. The new complex cost the local taxpaying public $99 million and features six full-sized practice fields plus a half-field for use by Mesa's clearly beloved Cubs.
Diamondbacks, ( Scottsdale )
The Diamondbacks' digs on the Salt River Pima-Maricopa Indian Community reservation on the absolute edge of Scottsdale's city limits contain six full and two half fields for their training usage. All fields are adjacent to the complex's stadium, beginning behind the third base grandstand and spanning beyond left field, and are to be accessible starting at 9 a.m.
Dodgers, ( Glendale )
The Dodgers practice on the eastern side of Camelback Ranch, where they have six fields at their disposal. Fans can start flocking to them when the complex's gates open at 9:00 a.m. and they should park in the lot that is a short distance from the intersection of 107th Avenue and Camelback Road.
Giants, ( Scottsdale )
The 2014 world champions practice in Scottsdale Stadium and on the single practice field that is adjacent to it. The practice field is tucked away in the right field corner but has no direct access for fans wanting to watch workouts there. What fans can glimpse is seen through the black wrought iron fence along the practice field's left field line. Watching practice on the main field is as simple as sitting wherever you desire in the 8,188-seat grandstand. Stadium gates open around 10 a.m. on practice days. The best place to park is in the free public garage found directly behind Scottsdale Stadium's left field.
Indians, ( Goodyear )
The Indians practice on six of the fields found within the Goodyear Recreational Complex that are in the shadows of the city's general aviation airport. The training complex is not next door to the ballpark, but it's not too far - maybe a 10-minute walk - from it. It's actual address is 2601 S. Wood Blvd. and parking spaces are found along both sides of Wood Blvd. The chain link fence gate to the complex swings open at 9:15 a.m.
Mariners, ( Peoria )
The Mariners are allotted six full-sized practice fields within the Peoria Sports Complex. Small sets of bleachers are set up at each of them. The fields are alongside the stadium's west parking lot, best entered by turning onto Mariners Way from 83rd Avenue, and beyond the stadium's first base grandstand. Practice field gates open at 9:15 a.m.
Padres, ( Peoria )
All practice fields at the Peoria Sports Complex used by the Padres are found beyond the stadium's right field. The gate to them opens at 9:15 a.m. Park your car in the stadium's east lot, which is entered from Paradise Lane. Workouts at each of the Padres-assigned six big fields can be enjoyed from the comfort of uncovered bleachers.
Rangers, ( Surprise )
The 2010-11 American League champions practice on six fields that are behind the first base side of their spring training stadium. Fans are allowed into the Rangers' half of the Surprise complex at 10:00 a.m. and for easiest access they should park in the lot near the intersections of Bullard Avenue and Tierra Buena Lane.
Reds, ( Goodyear )
The Reds practice on six fields in their portion of the Goodyear Recreational Complex, which is found near the intersection of Wood Boulevard and Estrella Parkway. It's a fairly long walk from Goodyear Ballpark to where the Reds do their training so it's advisable to park in the spaces that are on either side of Wood Blvd. Fans are permitted entrance into the Reds practice area beginning at 9:15 a.m.
Rockies, ( Scottsdale )
Same as their complex mates, the Rockies get use of six full and two half fields at the still pretty new Salt River Fields complex that is basically inches east of Scottsdale city limits. The bulk of those fields are behind the main stadium's first base grandstand. All fields will be accessible to fans beginning at 9 a.m.
Royals, ( Surprise )
The Royals practice behind Surprise Stadium on six fields that are parallel to the stadium's third base side. Their location is convenient to the stadium's main parking lot, from which it's a short walk to the practice field gate that opens at 10:00 a.m.
White Sox, ( Glendale )
The White Sox practice on six fields that can be seen from Camelback Road. Found on the western half of the Camelback Ranch complex, fans have easy access to them beginning at 9:00 a.m. Visitors should park in the west gate lot, accessed via 111th Avenue (aka Ballpark Boulevard).
GRAPEFRUIT LEAGUE
Astros, ( Kissimmee )
The Astros practice in their five-and-a-half field complex that is behind the left field corner of Osceola County Stadium, where fans can park in the media lot, which is very near the complex's fan entrance gate. Four of the full-sized fields within the Astros' complex are fan-accessible (fields 1-4 are, field #5 isn't) and multiple sets of uncovered bleachers are set up at each of those fields.
Blue Jays, ( Dunedin )
The Blue Jays hold their workouts 3� miles northeast of their spring training stadium at the Cecil P. Englebert Recreational Complex, which is in a residential area of Dunedin and contains five practice fields. The address for the complex is 1700 Solon Avenue, although that's not where you will find public parking. Instead drive to the nearby Louis A. Vanech Recreation Complex at 3051 Garrison Road. Upon entering the Vanech Complex take its asphalt path until it dead ends after about a quarter mile at a small parking lot that's near the Blue Jays' practice field gate.
Braves, ( Lake Buena Vista )
The Braves have a nice as they come practice complex courtesy of the fine folks at Disney. Referred to as the Baseball Quadraplex, it has four full-sized practice fields and each has covered seating for spectators. The Quadraplex is directly behind Champion Stadium and is conveniently next to the stadium's parking lot. The Braves also use the stadium field for workouts, which essentially means fans have five fields to roam on practice days.
Note, however, that the Braves are the exception from the free to see rule. That's not their doing however, but Disney's as it costs $17.50 to get into the Wide World of Sports Complex, which both the Baseball Quadraplex and Champion Stadium are located within. A "1 Day Sports Complex" pass is sold at the stadium box office. Discounts are available for kids aged 3-9; ages 0-2 get in for free.
Cardinals, ( Jupiter )
The Cardinals practice in the array of fields beyond Roger Dean Stadium's outfield. Specifically, their half-dozen practice fields lay behind the Cardinals clubhouse that spans the stadium's right-center field fence. Fan access to them is just past the parking lot that is behind the clubhouse, where a narrow paved path off of University Boulevard leads to the main practice field entrance gate.
Marlins, ( Jupiter )
The Marlins practice on six fields that begin beyond their clubhouse that is behind the left-center field fence at Roger Dean Stadium. The main fan entrance to the Marlins' complex is adjacent to Field #4 on the portion of Stadium Drive that is a little ways beyond the stadium's grass field parking lot.
Nationals, ( Viera )
The Nationals utilize four fields arranged in a cloverleaf formation that are found within the complex that abuts the back end of Space Coast Stadium's grass field parking lot. Just look for the Gate 5 parking sign and that's where the public can park. The nearby gate to the practice complex is always open, and the facility itself is very open and fan-friendly.
Orioles, ( Sarasota )
The four fields beyond the outfield wall of Ed Smith Stadium are where you'll find the Orioles for most of February. Those practice fields are accessible from the parking lot that is behind the stadium's left field foul pole. The complex's chain link fence gate rolls open at about 9:00 a.m. although practices don't start until a little later (a range of 9:30 to 10).
Phillies, ( Clearwater )
The Phillies practice at the Carpenter Complex, a four-field facility that is adjacent to their spring training stadium and at which public parking is available.
Pirates, ( Bradenton )
The Pirates practice further away from their spring training stadium than any other team, but the distance from McKechnie Field to their Pirate City training complex is just five miles. For those with a GPS, Pirate City's Bradenton address is 1701 27th Street East. Parking at Pirate City is in the paved lot that's shared with the neighboring River Run Golf Links. Fans can park so close to the entrance gate of the four-field baseball facility that some vehicles end up in harm's way (home run ball landing territory).
Rays, ( Port Charlotte )
The Rays practice on the five and a half fields that are behind the Charlotte Sports Park outfield. Generally the gates to the back fields open between 9:00 and 9:20 a.m. but never before the Rays are already on the fields. That aside, this is an exceptionally fan-friendly facility, with minimal restrictions and plenty of player-fan interaction. The only area off-limits are the bullpen mounds.
Red Sox, ( Fort Myers )
The Red Sox debuted both a new stadium and practice complex in 2012 and they are contained at one site, unlike in the past. The team's Player Development Complex, highlighted by six full-sized practice fields, is just beyond the Green Monster of the 10,823-seat JetBlue Park. Plenty of public parking is available within the 106-acre "Fenway South" complex, whereas none was available at the place where the Sox trained from 1993 through 2011. As for when fans are allowed access to the daily proceedings, the gate opens at 9:00 a.m.
Tigers, ( Lakeland )
The Tigers practice in their aptly named Tigertown complex, which sprawls from behind one end of Joker Marchant Stadium's outfield to the other. The practice complex has six fields, with the one named in honor of Hank Greenberg close to the Tigertown entrance gate. That black wrought iron gate is just beyond the Tigers clubhouse, which is situated down the right field line of the stadium. Lots of parking spaces are available near the practice field gate. Additionally, fans can watch Tiger workouts from outside of the complex by standing behind the outfield fences of practice fields #2 and #3. Those wanting to do that can park behind the Field #3 batter's eye in an area that is easy to find from Granada Street.
Twins, ( Fort Myers )
The 80-acre Lee County Sports Complex contains Hammond Stadium and all of the Twins' practice fields. Three and a half fields are at the far end of the complex while another full-sized practice field (with covered bleachers) is in the shadow of the stadium's third base side grandstand. The Twins use all of the fields, and often practice on the playing field in the stadium too. Plenty of parking is available for all of the facilities in the grass fields that span from the stadium to the back fields.
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Which animal is the symbol for the World Wide Fund for Nature? | WWF in Brief | WWF
WWF in Brief
WWF is one of the world's largest conservation organizations.
It was conceived on the 29th April 1961.
Its first office opened in September 1961 in the Swiss town of Morges.
The central secretariat for the network - called WWF International - is now located in Gland, Switzerland ( organizational structure )
WWF is an independent foundation registered under Swiss law.
The organization has offices in more than 80 countries around the world.
It employs around 6,200 full time staff
...and values the support of more than 5 million people.
Over the 50 years since it was founded, WWF has invested around US$11.5 billion in more than 13,000 projects
Subscribe to WWF
© National Geographic Stock / Michael Nichols / WWF
What do the initials WWF stand for?
WWF originally stood for "World Wildlife Fund".
However, in 1986, WWF had come to realize that its name no longer reflected the scope of its activities, and changed its name to "World Wide Fund For Nature".
The United States and Canada, however, retained the old name.
The resulting confusion caused by the name change in 1986, together with its translation into more than 15 languages, led the WWF Network in 2001 to agree on using the original acronym as its one, global name - the acronym that it had always been known by since its inception way back in 1961: WWF
Find out more on the panda symbol and how it has changed over the years...
What is WWF's mission?
WWF’s mission is to stop the degradation of the planet’s natural environment and to build a future in which humans live in harmony with nature, by:
conserving the world’s biological diversity
ensuring that the use of renewable natural resources is sustainable
promoting the reduction of pollution and wasteful consumption.
What does WWF do?
WWF focuses its work around the magnificent diversity of life on this planet , the extraordinary places they live in . All the while trying to reduce humanity’s impact on this life and in these places .
How many projects does WWF have?
Since our founding, we’ve invested nearly US$10 billion in more than 13,000 conservation projects in over 150 countries..
WWF runs about 1,300 projects at any one time.
Who works with WWF?
In carrying out its work, WWF cooperates with many partners, including UN organizations, IUCN , and development agencies such as USAID and the World Bank . WWF also works with business & industry partners.
Who is in charge?
| Giant panda |
March 12, 1894 saw the first bottles of what beverage, concocted by Atlanta pharmacist John Pemberton, sold for the first time? | 50 years of environmental conservation | WWF
We are all connected
50 years of environmental conservation
WWF came into existence on 29 April 1961, when a small group of passionate and committed individuals signed a declaration that came to be known as the Morges Manifesto .
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Snippet from the first page of the Morges Manifesto, the document which signaled the founding of WWF on April 29th 1961.
© WWF
The Morges Manifesto (PDF 720kb). The founding document which led to WWF as we know it today.
This apparently simple act laid the foundations for one what has grown into the world's largest independent conservation organization.
More then 50 years on, the black and white panda is a well known household symbol in many countries. And the organization itself is lucky enough to have won the backing of more than 5 million people throughout the world, and can count the actions taken by people in support of its efforts into the billions.
The world on which we live
Having invested well over US$1 billion in more than 12,000 conservation initiatives since 1985 alone, WWF is continually working to bring a balance between our demands on our world, and the variety of life that lives alongside us.
© National Geographic Stock / Michael Nichols / WWF
The evolution of WWF's famous panda logo
© WWF
What is the story behind the panda logo of WWF?
The inspiration came from Chi-Chi: a giant panda that had arrived at the London Zoo in the year 1961, when WWF was being created.
Aware of the need for a strong, recognisable symbol that would overcome all language barriers, WWF's founders agreed that the big, furry animal with her appealing, black-patched eyes would make an excellent logo.
The first sketches were done by the British environmentalist and artist, Gerald Watterson.
Based on these, Sir Peter Scott, one of those founders, drew the first logo, and said at the time... "We wanted an animal that is beautiful, is endangered, and one loved by many people in the world for its appealing qualities. We also wanted an animal that had an impact in black and white to save money on printing costs."
The black-and-white panda has since come to stand as a symbol for the conservation movement as a whole.
History of WWF by the decades
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Home to Bank of America and the east coast operations of Wells Fargo, after they bought Wachovia, what Southern city is the second largest banking center in the US behind New York? | The Wells Fargo Watch
The Wells Fargo Watch
ICP Fair Finance Watch in The Guardian (UK), Feb. 16-17, 2010, on Wells Fargo's subprime - here
ICP has published a book about the Wells-relevant topics of predatory lending, and corporate fraud - click here for sample chapters, here for a map , here for fast ordering and delivery , and here for other ordering information . CBS MarketWatch of April 23, 2004, says it has "some very funny moments." The Washington Post of March 15, 2004 , calls Predatory Bender: America in the Aughts "the first novel about predatory lending;" the London Times of April 15, 2004 , "A Novel Approach," said it "has a cast of colorful characters." See also, " City Lit: Roman a Klepto [Review of �Predatory Bender�] ," by Matt Pacenza, City Limits, Sept.-Oct. 2004. The Pittsburgh City Paper says the 100-page afterword makes the "indispensable point that predatory lending is now being aggressively exported to the rest of the globe." Click here for that review ; click here to Search This Site For or with more information, contact us .
Updated October 3, 2016
Inner City Press / Community on the Move (ICP) and its Fair Finance Watch have become increasingly concerned with Wells Fargo's predatory lending, including overseas. ICP first identified these issues at Wells in 1997 (see discussion of Wells' "Island Finance" and its 25% interest rate loans, below), and raised them then, and in 2000 (see, e.g., " N.Y. Activists Seek Nevada Hearing ," Las Vegas Sun, Oct. 24, 2000, and " Consumer Advocates Want Hearings on Wells Fargo Deal ," Associated Press, April 18-19, 2000 (Alaska). See also, "Group Objects to Wells Deals," by Todd Davenport, American Banker, July 29, 2003, Pg. 17, quoting ICP that "Wells Fargo is a predatory lender, and is exporting these practices beyond the United States." See also, " Group Files to Block Wells Fargo Acquisition ," Seattle Post Intelligencer, July 29, 2002; " Wells Fargo Accused of Predatory Lending ," Denver Post, July 29, 2003; "Wells Fargo Accused of Unfair Lending," Rocky Mountain News, July 29, 2003; longer list here .
Update of October 3, 2016
: The September 29 hearing in the House made clear Wells Fargo's CEO should step down. As one example, first he said he couldn't remember if he's read the LA Times (Reckard) story in 2013 - then he said the board considered it. He's the chairman of the board....
Update of April 1, 2013 -- In the first study of the just-released 2012 mortgage lending data, Inner City Press and Fair Finance Watch have found that Wells Fargo continued with high cost loans and disparities by race and ethnicity in denials and higher-cost lending. 2012 is the ninth year in which the data distinguishes which loans are higher cost, over a federally-defined rate spread of 1.61 percent over Treasury bill yields. The just released data show that Wells' largest morgage lender confined African Americans to higher-cost loans above this rate spread 2.32 times more frequently than whites in 2012, Fair Finance Watch has found. Wells' largest morgage lender confined Latinos to higher-cost loans above the rate spread 1.77 times more frequently than whites in 2012, the data show.
Update of October 15, 2012: In Texas, an appeals court on October 12 vacated a sanctions award Wells Fargo Bank Minnesota NA had won against an Austin appraisal district that refused to grant it a property tax break for its pollution control measures, holding the bank didn�t follow tax protest procedures. The case revolves around a former landfill site owned by Wells Fargo that now houses an apartment building and qualified for a pollution control tax break based on the Texas Commission on Environmental Quality�s determination the land has a "positive use"...
Wells Fargo scamming? We've seen it before.
Update of July 30, 2012: Two of the vendors that sold the credit card add-ons cited in Capital One's settlement with the CFPB and OCC also do business with Wells Fargo: private equity owned Affinion Group Holdings, and Intersections. Calling the CFPB....
Update of June 18, 2012: In Philadelphia, Occupiers are gearing up to oppose Wells Fargo's move to renew its contract with City Hall on June 21, saying Wells "plundered the Philly school system."
April 2, 2012 -- In the first study of the just-released 2011 mortgage lending data, Inner City Press and Bronx-based Fair Finance Watch have found that Wells Fargo continued with high cost loans and disparities by race and ethnicity in denials and higher-cost lending.
2011 is the eighth year in which the data distinguishes which loans are higher cost, over a federally-defined rate spread of 1.5 percent over Treasury bill yields.
The just released data show that Wells Fargo confined African Americans to higher-cost loans above this rate spread 2.28 times more frequently than whites in 2011
Update of September 5, 2011: Wells Fargo is moving to settle in Memphis just the type of racially discriminatory predatory lending and foreclosure charges that it has previously bragged about beating in court, for example in Baltimore. We'll be watching this -- and another big bank, next week. Watch this site.
Update of July 21, 2011:
As Federal Reserve Fines Wells Fargo, It's Too Little, Too Late
, By Matthew R. Lee
After being presented with evidence of Wells Fargo's predatory lending for years, but nevertheless approving all of Wells Fargo's merger applications, the Federal Reserve this week belatedly imposed a $85 million fine for abuses by Wells Fargo Financial.
The response by Bronx-based Fair Finance Watch, which provided the Fed with testimony for whistleblowing employees of Wells Fargo Financial , was too little, too late.
At Wells, subprime lending has already been shifted into other of the bank's units.
In 2010, the sixth year in which the Home Mortgage Disclosure Act data distinguishes which loans are higher cost, over a federally-defined rate spread of 1.5 percent over Treasury bill yields, the data show that the largest of Wells Fargo's many HMDA data reporters confined African Americans to higher-cost loans 2.56 times more frequently than whites.
Predatory lending already triggered the global financial meltdown. The Fed, it seems, is merely saving face...
Update of April 18, 2011: A U.S. appeals court ruled April 15 that Wells Fargo & Co. wrongly claimed $115 million in tax deductions for the 2002 tax year from transactions the court called "abusive tax shelters." The so-called SILO deals involve banks that bought railcars or other equipment from the public agencies, claimed millions in depreciation tax benefits, and then leased the equipment back to the agency. The U.S. Court of Appeals for the Federal Circuit ruled that 26 SILO transactions involving Wells Fargo were "purely circular transactions" that were "abusive tax shelters." The appeals court said a trial judge in the case "permissibly found that the claimed tax deductions are for depreciation on property Wells Fargo never expected to own or operate, interest on debt that existed only on a balance sheet, and write-offs for the costs of transactions that amounted to nothing more than tax deduction arbitrage."
Sounds like Wells..
Update of April 4, 2011: 2010 is the sixth year in which the data distinguishes which loans are higher cost, over a federally-defined rate spread of 1.5 percent over Treasury bill yields. The just released data show that the largest of Wells Fargo's many HMDA data reporters confined African Americans to higher-cost loans 2.56 times more frequently than whites in 2010...
Update of September 13, 2010: �BAE Systems Plc, a global company engaged in the development, delivery and support of advanced defense, security and aerospace systems announced Monday that it has engaged Wells Fargo to advise on strategic options with regard to the Platform Solutions business, including a possible sale.� Ah, arms manufacturers...
Update of August 30, 2010: From the Inner City Press department of No Honor Among Thieves: according to a complaint filed July 23 in U.S. District Court for the Southern District of Indiana, Regions Bank and Wells Fargo equally backed a $95 million loan to Corporate Plaza Partners LLC to build the 19-story, 376,000-square-foot NASCAR office building in Charlotte. When Corporate Plaza Partners' parent company filed for bankruptcy, Regions said, Wells Fargo, the designated agent of the loan, failed to aggressively go after the company for the balance of the loan and protect itself and Regions from taking "potentially huge losses."
"Regions expected that Wells Fargo could be trusted to administer the CPP Loan even-handedly and in the best interests of both lenders," Regions said in its complaint. "As alleged herein, however, Wells Fargo repeatedly ignored loan defaults, rebuffed demands by Regions to exercise collection remedies, and allowed the collateral to diminish drastically in value." According to court files reviewed by SNL, a Wells Fargo officer said June 24 that the lenders faced a $30 million to $40 million loss on the loan.
"The loss suffered by Regions is a direct and proximate result of Wells Fargo's breach of express provisions of the CPP Loan agreement as well as the implied covenant of good faith and fair dealing," Regions said in its complaint.
The NASCAR office building is essentially complete today, Regions said, but its market value fell in 2010 as vacancy rates across the Charlotte area increased. In June, Regions said, Wells Fargo proposed to buy Regions' share in the loan at about 42 cents on the dollar.
Update of August 2, 2010: Wells Fargo was the target of a governmental charge of predatory lending last week, by the Pennsylvania Human Relations Commission, based on 2004 and 2008 Home Mortgage Disclosure Act data. Inner City Press / Fair Finance Watch has analyzed the 2009 data, which it obtained from Wells Fargo, and has found that in 2009, Wells Fargo Bank NA confined African Americans to high cost mortgages 2.40 more frequently than whites. Its disparatiy for Latinos was 2.09. For its subprime affiliate Wells Fargo Funding, the disparities in 2009 were even worse that the bank, and those cited by the Pennsylvania Human Relations Commission: African Americans were confirmed to high cost loans four times more frequently than whites.
Update of July 12, 2010: Wells Fargo was a top five global private bank last year. Can you say, money laundering and /or tax evasion?
Update of May 3, 2010: Notable is the lawsuit against Wells Fargo for failure to maintain ten apartment buildings in the Bronx, New York that it is foreclosing on, including 3018 Heath Avenue. The case involves over 500 families, tenants of Millbank Real Estate before it defaulted on its $35 million mortgage. Then Wells Wargo and LNR Partners moved in.
Update of April 12, 2010: In the first study of the just-released 2009 mortgage lending data, Inner City Press / Fair Finance Watch has found that Wells Fargo Bank NA confined African Americans to higher-cost loans above the Federal defined subprime rate spread 2.09 times more frequently than whites. Wells Fargo Bank NA confined Latinos to higher-cost loans above the rate spread 2.09 times more frequently than whites, the data show. For its subprime affiliate Wells Fargo Funding, the disparities were even worse: African Americans were confirmed to high cost loans four times more frequently than whites. 2009 is the sixth year in which the data distinguishes which loans are higher cost, over the federally-defined rate spread. Further studies will follow.
Update of February 22 --
Ten days after the release by the U.S. Senate of a reporting on evasion by the son of Equatorial Guinea's President for Life
Teodoro Nguema Obiang Mangue
of anti-money laundering controls by and at Wachovia / Wells Fargo and others, the Obiang regime fired back, calling the report racist and citing in its defense the election of Barack Obama. Inner City Press is putting the Obiangs' memo online, here . InnerCityPress.com article here .
Update of January 4, 2010: Wells Fargo, already being sued by Baltimore for targeting people of color with high cost loans, has now been hit with a similar law suit in Memphis, Tennessee. "Ghetto loans," they call them.
Update of December 7, 2009: In repurchases from Fannie Mae and Freddie Mac, Bank of America disclosed in the third quarter that it bought back, through Sept. 30, $922 million of mortgages tied to faulty underwriting. It of course doesn't break down the size of its repurchase reserve.
Update of September 14, 2009: We note the Malibu partying of Cheronda Guyton, Wells Fargo bank's senior VP for foreclosed properties....
Update of July 27, 2009: "Robert Joss is leaving the board of directors at Wells Fargo to join the board of Citigroup" - WTF? Who is it, that offered him the Citigroup position? How isn't it a conflict of interest, given Citigroup's and Wells' fight for Wachovia? What about the other conflicts of interest on the Citigroup board?
Update of July 13, 2009: Wells Fargo is refusing to help Californians in their time of need, announcing it will not accept the State's IOUs. As noted by the Associated Press , "clearly, the federal government has leverage over these institutions," said [Inner City Press / Fair Finance Watch]. Hundreds of banks have received aid from the government as part of its $700 billion rescue plan last fall."Update of May 11, 2009: So the Fed even cooked the books on the stress tests, after Wells Fargo threatened to sue. Way to regulate...
Update of April 27, 2009: From the mailbag -
Subj: My Plight with Wells Fargo Auto Financial
From: [Name withheld in this format]
To: Inner City Press
Sent: 4/17/2009 6:59:57 P.M. Eastern Daylight Time
Hello Matthew,
I've been referred to you by a family member to contact you about some trouble I've been having with Wells Fargo Auto Financial. I'd like to share my story with you, in hopes that you will promote awareness regarding Predatory and Discriminatory Lending Practices.
I myself, am a young, black female; have always been a part-time worker, and full-time student (until recently as of 4/06/09); and a single mother. At the time I contracted with WF, these same characteristics applied.
December 2007, I was deceived into a contract for an auto loan that did not state the terms that was initially discussed. Based on my good credit history, I was told that Wells Fargo would pay off all of my credit card debt, and buy out my car loan from Bank of America and I would end up paying a low monthly payment each month. Right before it is time to sign the contract, Wells fargo change the terms, and decided it was best to give me a check in the amount of $2000 to pay off my own debt, and buy out my car loan ($18K). This was a little fishy to my then, but I felt pressured to go ahead with the deal because (1) I spent almost 3 hours in this office, and I had to leave quickly; (2) I needed the money to pay off some debt and bills; (3) Wells Fargo offered an additional line of credit (as an incentive) for $1000, and (4) I didn't have to start paying for another month and a half.
The terms were $505.77 per month, which was far less than what I was paying for the bills separately. He told me where to sign, and I left. Things were fine for the first couple of months.
May 2008, I had a life changing event occur. My daughter had chronic bronchitis due to Chicago's weather and I had to move to Arkansas for a better climate environment. Upon my move I had certain job leads that fell through and was out of work for at least 4 months. During the entire time, Well Fargo called everyday, at least 3 or 4 times a day. My credit score dropped tremendously, and no one was willing to help. Once I did find a job, I paid all I could to Wells Fargo to get things back on track, but all the money was going torward the interest and not the principle of the load, which kept me at a standstill with paying it down.
I now landed a job where I currently make $30K. As I discussed to Wells Fargo, I've worked in the $505.77 in my monthly budget; but I know that I don't have the money to pay a past due balance, late charges, the current monthly payment, and rolocation expenses in preparation for this new job. I've kept them up to date with all of the changes, and yet they continue to threaten me with repossession, despite the fact that I paid out over $1500 within the last month and a half.
I've called numerous times to see if my loan can be restructured, and been given countless run arounds. Finally, Wells Fargo Bank explained that neither them nor Wells Fargo Auto Financial work with customers (new or existing) that live in Arkansas.
Bottom line, there was absolutely nothing they could do to help me. All the while, I owe $505.77 for March payment, $272.99 in late charges, $505.77 for April, and the $505.77 in May. My credit score is shot, so no other bank will loan me anything, and no car dealership is willing to take a trade in for a car only worth $8000 but a loan attached to it for $20,000.
I've contacted the CEO, John G. Stumpf, who had someone else send me a letter back explaining that since I signed the contracted there was nothing they could do. I'm seeking justice in that, Well Fargo needs to be stopped. They thought it was best for my financial situation to require a full-time student, part-time worker, single parent, young black lady to pay them $33,380.82 on a car worth $8000. Tack on a 19.24% interest rate to a loan, which would have me pay them $13,035.13 outright.
This is ridiculous, and something must be done. I trusted Wells Fargo in that they were charged to help me. They initially told me that there was something they can do to help, and made me believe that this is what was best for my situation. Now that I am a customer of theirs, there is nothing they can do to assist me. I am enraged!
Us too.
Update of April 6, 2009 -- In the first study of the just-released 2008 mortgage lending data, Inner City Press / Fair Finance Watch has found that Wells Fargo Bank confined African Americans to higher-cost loans above this rate spread 2.18 times more frequently than whites. Wachovia Mortgage FSB, the largest lender of Wachovia which Wells Fargo acquired, had a lower disparity, at 1.46.
Note: 2008 is the fifth year in which the data distinguishes which loans are higher cost, over the federally-defined rate spread of 3 percent over the yield on Treasury securities of comparable duration on first lien loans, 5 percent on subordinate liens.
Update of January 19, 2009: Here are properties in The Bronx, New York on which Wells Fargo has foreclosed:
2096 RYER AVE BRONX 2862 Multi-family $374,900 N
5730 POST ROAD BRONX 1809 Multi-family $599,000 N
605 WALES AVE BRONX 2700 Duplex TBD N
2194 WASHINGTON AVE BRONX 2403 Multi-family $325,000 N
4027 EDSON AVE UNIT 1 & 2 BRONX 1848 Duplex $339,900 N
2782 CRESTON AVE BRONX 2000 Multi-family TBD N
Update of January 5, 2009: Talk by Wells Fargo that they had cleaned up their predatory lending act has been blown out of the water by the example cited by even the Wall Street Journal, of a $103,000 mortgage on a shack in Arizona, purchased by Wells --
"Less than two years ago, Integrity Funding LLC, a local lender, gave a $103,000 mortgage to the owner, Marvene Halterman, an unemployed woman with a long list of creditors and, by her own account, a long history of drug and alcohol abuse. By the time the house went into foreclosure in August, Integrity had sold that loan to Wells Fargo & Co."
We'll wait to hear the spinmeisters at Wells try to explain this one away...
Update of December 15, 2008:
After most big banks and even many non-banks have already drawn down their bailout funds from the government's Troubled Assets Relief Program, there's belated interest in Congress in what banks have been doing. On the afternoon of December 8 on the Senate floor, Byron Dorgon of North Dakota expressed shock at Wachovia 's purchase and lease-back of German sewer system, just so it could use the depreciation of the German pipes to avoid its U.S. taxes.
Now that Wachovia is being bought -- by Wells Fargo and not as Washington wanted Citigroup -- is it easy to finally criticize it and its outgoing management.
Update of December 1, 2008: From the mail bag --
Subj: Reporting a Wells Fargo Issue
From: [Name withheld in this format]
To: Inner City Press
Date: 11/15/2008 12:39:20 P.M. Eastern Standard Time
Hi, after reading your �Wells Fargo Watch� page I wanted to share a Wells Fargo story with you, in hopes that you will post it. I am most curious to find out if other Wells Fargo employees have suffered the same fate as my husband. I am trying to write this account carefully so as not to reveal my husband�s identity. However, should you need more details to confirm the story, please let me know.
My husband is � or was -- a personal banker with Wells Fargo. Over a month ago, one of his regular customers presented a $4,000 check for deposit to her account. My husband followed Wells Fargo security procedures to deposit the check to the woman�s account, cautioning her that the funds would not be available to her for at least 4 business days. Unfortunately, the check proved fraudulent, part of the widespread and apparently sophisticated �mystery shopper� scam. The customer, who claims to have been duped by the offer she received in the mail, had already sent $3,500 to the scammers� account.
Despite the fact that Wells Fargo employees all over the U.S. and Canada have accepted these fraudulent checks for deposit, my husband was singled out � as far as we know � by Wells Fargo, and accused of complicity in the mystery shopper scheme. Wells Fargo immediately placed him on �paid administrative leave, pending investigation�. He was instructed not to contact any Wells Fargo team member, but to await a call from a local Wells Fargo Human Resources representative. Twelve days later, Wells Fargo stopped his paycheck. To this day, four weeks later, Wells Fargo has still not contacted us, and the Human Resources representative has not returned any of my husband�s numerous phone calls.
Needless to say, this has been a financial disaster for our family. Not only have we lost my husband�s paycheck, as far as we know he has also lost his job. If he is terminated under these conditions he will be unable to �bond� to work as a banker ever again, so in that case he�s lost his career as well. Worse, without an official termination from Wells Fargo, he cannot apply for unemployment compensation, or request payment for his accrued paid leave, etc. He is essentially in limbo.
We consulted an attorney, only to learn that there is absolutely nothing we can do about this situation, we can�t force Wells Fargo to respond to us. And if Wells Fargo does eventually terminate him, we cannot challenge it: we reside in an �employ at will� state, in which a company may terminate any employee at any time for any reason, or for no reason at all.
I�m writing this because I�d like to know if any other Wells Fargo employees have been terminated for accepting these mystery shopper scam checks.
Update of November 10, 2008: How will the bailout funds be used? For opportunistic mergers, as we noted last week. And now we can say, for political contributions and lobbying. ICP Fair Finance Watch was interviewed on November 7
about the use of funds by Wells Fargo:
" Wells Fargo & Co., which announced a deal for Wachovia last month, gave out nearly $1 million through its PAC in this election cycle, according to an analysis of Federal Election Commission reports. Wachovia Corp. PACs gave $1.2 million. Wells Fargo & Co., which announced a deal for Wachovia last month, gave out nearly $1 million through its PAC.... Wells Fargo spent $3.6 million lobbying federal officials over the same period."
There is no commitment that the bailout funds will not be put to these uses.
Update of October 27, 2008: From Dow Jones on the Fed's self-approval of Wells Fargo - Wachovia: " The Fed said a commenter had requested a public meeting, but the Bank Holding Company Act does not require the board to grant that request. A Federal Reserve spokeswoman wouldn't disclose the name of the group that had requested the hearing." So now, like North Korea, the Fed tries to cover up even who has commented. For the record, ICP Fair Finance Watch made the request...
Update of October 20, 2008: It's telling, in terms of how sloppy the corporate giveaways have been, that neither the Fed nor Treasury thought through how buying warrants in Wells Fargo would put Wells in the position of reducing book value or recording a loss. Expect the rule changing for the biggest banks to continue...
Update of October 13, 2008: Tales for a time of lawless regulators giving rubber stamp bank merger approvals without any public notice or comment -- while Inner City Press / Fair Finance Watch has already commented to the Fed demanding they hold a comment period on Wells Fargo's proposal to buy Wachovia, now Wachovia says it will bypass its own shareholders -- with the NYSE's rubber stamp. Note to Fed: this doesn't make it an emergency to bypass the public too. But the Fed on Friday said, vaguely, that it will begin "immediate consideration" of Wells Fargo's application. But no FDIC involvement = no emergency.
Update of October 6, 2008: With Wells Fargo's announcement that is it outbidding Citigroup for Wachovia, and would consummate its proposal, without FDIC assistance, by the end of the year the question arises: how could the regulators bypass public notice and comment on a transaction that has no FDIC involvement?
Citigroup's low-ball $2.16 billion supposed deal, announced Monday, had rubberstamp approval with no public notice or comment, including under the Community Reinvestment Act on CitiFinancial's widespread involvement in controversial subprime lending. Now, in the face of Wells Fargo's announced, the regulators have rushed out a strange press release:
Statement by the Board of Governors of the Federal Reserve and the Office of the Comptroller of the Currency
A new proposal to acquire Wachovia has emerged from Wells Fargo. The Citigroup proposal has undergone extensive review by the Federal Reserve and the Office of the Comptroller of the Currency. We have not yet reviewed the new Wells Fargo proposal and the issues that it raises. The regulators will be working with the parties to achieve an outcome that protects all Wachovia creditors, including depositors, insured and uninsured, and promotes market stability.
The scuttlebutt is that the regulators, although having no basis to waive public participation this time, are considering doing it, among other things to equalize the playing field between Citigroup's and Wells Fargo's bid. It is clear which bid is financial superior -- but Wells Fargo, too, has been involved in predatory lending, through Wells Fargo Financial and overseas. Some advocates are saying they prefer the Wells proposal on the basis that it should finally allow some public process in the spate of supposedly emergency mergers and conversions.
Update of August 25, 2008: From the mailbag -
Subj: Wells Fargo Mortgage Complaint
From: [Name withheld in this format]
To: Inner City Press
Date: 8/15/2008 12:58:48 P.M. Eastern Daylight Time
Hello, I found your website today. My dealings with America's Servicing Company owned by Wells Fargo has been a constant struggle. Today, I am mailing a complaint to the Texas Dept. of Banking and Mortgage Lending as well to Barney Frank, Chairman of the House Committee on Financial services. The committee passed HR 5579 which directed lenders to speed the loan modification process. I made my request to ASC/Wells Fargo in April 2008. I have yet to receive a response. Also, I have been unable to speak to anyone who might be 'working' on the loan modification.
Yep, that's Wells Fargo...
Update of August 4, 2008: Talk about a conflict of interest, and regulatory capture -- last week, the regulators and four big banks issued coordinated press releases. "Officials from banking giants Bank of America Corp., Citigroup Inc., JPMorgan Chase & Co. and Wells Fargo & Co. issued a joint statement saying, 'We look forward to being leading issuers as the U.S. covered bond market develops.'" And those they issued the statement with and for are supposed to objectively oversee them...
Update of May 26, 2008: In a motion filed last week, Baltimore says Wells Fargo uses predatory lending practices in Baltimore's predominantly African American neighborhoods "to make a quick profit because it believes it can successfully exploit those communities" by
Charging higher interest rates;
Underwriting certain types of adjustable-rate mortgages without regard for whether the borrower can repay after the initial "teaser" rate expires;
Stripping borrowers' equity through unnecessary refinancings;
Paying rebates to mortgage brokers for inflating interest rates;
Requiring prepayment penalties that prevent borrowers from getting help through refinancing;
Charging excessive points and fees with no corresponding benefits to the borrower.
Yep, that sounds like Wells Fargo...
Update of May 12, 2008: This week from the mailbag, from inside Wells Fargo Financial --
Subj: Attention Inner City Press
Date: 5/2/2008 2:10:09 P.M. Eastern Daylight Time
From: [Name withheld upon request]
To: Inner City Press
I am currently a Wells Fargo Financial employee. I didn't know if you would be interested or not but I have some interesting information you may want to look into further. I've been with Wells Fargo Financial since [redacted to preserve confidentiality of whistleblower]. I came right out of school and landed what I thought was a great career with a great company. Little did I know that I am actually a consumer lender in the subprime mortgage industry. Our main product is our Real Estate refinance which is subprime. The average rate is about 10.5%. My belief is that wells fargo financial is now downsizing and have found a clever way to lay off a lot of employees without getting into headlines as officially laying people off. We have seen a huge decline over the last six months. I come from a smaller state, last year around march of 2007 we had 50-some full time selling employees. We are now down to 20-some. People are leaving left and right and I am hoping to get out of here by the end of summer. I am an assistant branch manager. I have two points of interest that I would like to let you in on to see what your opinion is about the situation.
Point number 1: New Performance Improvement Plan process (The PIP process as it is referred to here regarding the process of terminating a team member)
The process used to be that if you did not book 100k of new money lent over a 2 month period you were given a month to do at least 50k and over the next three months to book 150k total of new money to get off of the PIP. If you did not reach this, the company could recommend termination. It has only happened to two team members since I have been with the company.
The new pip process is as follows, if you have one month without doing 50k of new money you can be recommended for termination. You have the following month to do 50k and if you do not you are out basically. Another process that has changed recently that leads me to believe that we are currently downsizing is that processor role in our branches. A processor processing all of the payoffs, paid outs, deals with title work, and insurance as well as ordering supplies for the branch and maintaining the current loan pipeline. Every branch had one processor, until this month. There are only 3 main processors in our district now, (there are 7 branches in our district) the other 4 have now been placed into part time, glorified secretary rolls. A processor now has up to 2-3 branches each to process for and did not receive any type of pay increase as a result outside of performance branch based bonuses. Some of the part-timers have already decided to quit and there isn't any rush to replace them.
Point Number 2: Sub-Prime loans and Prime loans or (A-Paper Loans)
Our business model is confused. We are supposed to be subprime lenders, we sell to customers with 620 or below fico scores, that is our target market. Anyone who has been in a sales position knows that sales is about persistence, hard work, and of course leads. Our lead base is mainly retail sales finance accounts (ex: tractor supplies financing, heating and cooling, carpet, furniture stores etc.) Most of these customers usually finance with 12 months same as cash periods or 24 months same as cash periods etc. Lately things are tight you basically have to have at least somewhat decent credit to get approved for this financing. Somewhat decent credit is above 620 fico score. Most of these retail sales accounts are 700 credit score customers and so forth. Our job is to call these customers and service those accounts and cross sell, credit cards, auto loan refinancing to pay off credit cards, and most importantly real estate restructuring. Taking the equity you have in your home to combo other bills to put them into one ultimate loan with a lower payment and hopefully an overall lower total payback (which is rare).
Most of these customers could go to their bank and do the same thing at a much lower interest rate. Our company doesn't want us selling prime loans because we don't make money on these loans. If we book a loan and it ends up going prime we do not receive credit for it as a unit or a loan. We do get paid 175 bucks for each prime loan we book but if you do nothing but prime loans you will show no new money credit for these loans and zero units thus making it look like you didn't do anything. As a result you would be pipped and begin the process of termination. There is a way for us to keep a prime customer from going prime, if we can convince the credit grade A, no matter what the fico score it could be and 850, to take a loan over 91% of the total loan value (example 100k home value, 91k loan amount) it will not go prime.
The tricky part is this, we as team members do not know what rate the customer will qualify for, we have a matrix, every customer falls into a certain pricing non-prime grade meaning a 720 credit score can come up and it will show up as a 10% rate but if you go below 91% ltv it will show that it can be recommended for prime pricing.
Let me give you a recent example:
I had a 736 fico customer coming in wanting to do a 124k total loan on a home he just had appraised about 6 months ago for 137k. The appraisal itself was done by a friend of the customers to purposefully bring it down because the loan he was trying to complete was the result of a divorce. I still took the chance and put in the total value as 137k. At a 124k total loan his total interest rate quoted was 9.38%. He had no choice, because of the way he was paid the bank would not cash flow him but we are very conservative as well but we were able to legitamitly cash flow him for the loan. (wells fargo doesn't mess around when it comes to cash flowing loans, we get heavy documentation) We got an appraisal done (wells fargo also doesn't mess around when it comes to appraisals, we have absolutely no contact with the appraisers, we have a separate company that we pay to have the contact) the appraisal came back for 185k. So obviously at this point, it would be tough for me to get this loan up to 91% ltv. For me it was simple, i want to do the right thing but at the same time i have to book loans, they put pressure on you to book it subprime, i tried like hell to sell 91% loan and nearly succeeded. The customer ended up only taking an extra 15k which still kept it below the 91% required to keep it from going prime. Still at this point i am not able to disclose to the customer that all he had to simply do was take any loan under 91% and he would simply sign the final pricing disclosure showing a 9.38% rate but after a final review it will come back and give him a 5.5% -7% loan. I still had to sell with the customer having the intentions he would be getting a 9.38% rate. We sent up the final pricing disclosure it was recognized as prime and the customer ended up with a 5.5% fixed rate for 30 years to his surprise and glee. That turned out great, of course it looks like I never booked a loan. Second scenario would have been if the customer had agreed to take an extra 60k out putting him over the 91% ltv mark and thus keeping the loan at 9.38% for a 720 fico customer. We can never inform them of this until after they agree to a higher rate like that is what they are getting and they get a prime loan. If i would have booked this loan subprime in that particular month i would have received over 1k in total bonus money. Instead, I didn't hit the mark required for bonus money and only received the 175k for booking a prime loan.
This is of course a Cover Your Ass scenario for wells fargo but believe me, it is not a good thing to book a prime loan, i had my district manager yelling at me for not being able to sell the extra 60k because once it is prime it doesn't count for the branches records, or the districts record or the regions record. No one gets credit.
That is my fundamental reason for wanting to leave wells fargo financial. I know we are in business to make money, but not at the expense of humanity.
We aim to have more on this...
Update of May 5, 2008: from the Washington Post of May 2 we have the story of the owner of the Shark Club of Bethesda, John A. Tsiaoushis, in league with a gaggle of predatory lenders including Wells Fargo. For a house on Pennycress Lane, in January 2005, while Tsiaoushis owed more than $588,000 on the mortgage, he sold the house without repaying it. Court records show he created documents purportedly from the mortgage company, opened a post office box in Beltsville and had the settlement company send checks totaling $586,000 to the "mortgage company's" post office box, which Tsiaoushis then deposited. Using friends and associates, Tsiaoushis helped refinance the house for subsequent buyers. In each case, checks settling the transactions were sent to post office boxes opened by Tsiaoushis, court records show, after he presented phony documents indicating that all liens had been resolved. Court records show that CitiFinancial of Falls Church paid more than $670,000 in a refinancing scam; Accredited Home Lenders of San Diego paid $891,000 to "buy" the house; and Wells Fargo in Alexandria lent $585,000 in a refinancing scheme. First Franklin Financial of San Jose, which made the original, legitimate mortgage on the house, is owed $588,000, court records show."
When sleazy lender First Franklin is the "legitimate" lender in a story, and CitiFinancial and Wells Fargo come in later without any due diligence, you get a picture of the corporate role in the current crisis....
Update of April 14, 2008: As Wells Fargo claimed to cut back on subprime lending in 2007, a new ICP Fair Finance Watch study has found that Wells continued making super high cost loans subject to the Home Ownership and Equity Protection Act (HOEPA) -- that is, at least eight percent over comparable Treasury securities. Using 2007 Home Mortgage Disclosure Act data that was required to be released on March 31, ICP Fair Finance Watch has found that Wells Fargo, while making 381 HOEPA loans in 2007, placed African Americans in subprime loans 2.43 times more frequently than whites, and denied the applications of Hispanics 1.56 times more frequently than whites. The HMDA data for 2007 is the fourth year in which the data distinguishes which loans are over the FRB-defined "rate spread," of three percent over the yield on Treasury securities of comparable duration on first lien loans, five percent on subordinate liens. More analysis will follow.
Update of March 10, 2008: Foreclosure tale from New York, by a charter-bus driver in the East Bronx who has a mortgage payment that went from $2,482 to $3,500 a month. I had a two-year teaser rate, now going up every six months to a maximum of 13.2 percent, "I spoke to Wells Fargo. I tried to get them to keep the rate at the teaser rate, 6.8 percent... I'm in a home that cost us $35,000 in the sixties. We refinanced three times, and we owe $400,000."
Update of March 3, 2008: Now Wells Fargo must file reports on its mortgage delinquencies and foreclosures with the Office of the Comptroller of the Currency. Information from October 2007 through February is due by March 31. Better late than never.
Update of January 21, 2008: In further chickens-coming-home-to-roost news, Wells posted its first decline in earnings in six years, with profits down 38%...
Update of January 14, 2008: Wells Fargo was sued last week by the City of Baltimore for predatory and discriminatory lending. The U.S. Conference of Mayors projected that 361 metropolitan areas would take an economic hit of $166 billion in 2008 because of the foreclosure crisis. The Baltimore area was expected to lose more than $1.6 billion in economic output, according to the Conference of Mayors...
Update of July 2, 2007: The National Association of Securities Dealers has fined Wells Fargo Securities LLC $250,000 for not disclosing that a series of research reports about Cadence Design Systems Inc. were written by an analyst who was seeking a job with the semiconductor designer...
Update of May 21, 2007: From a report last week, 2006 subprime mortgage volume and status of Wells Fargo $27,869 Restated B&C volume, cut jobs, tightened menu.
Update of April 30, 2007: The Case of Wells Fargo and the Squishy Bed, Abusive Calls
From: [Name withheld in this format]
Date: 4/26/2007 10:37:42 AM
To: Inner City Press
Subject: Wells Fargo
Hello, In April 2006 I purchased a set of mattresses from a local furniture company, Banner Mattress. Their finance service is with Wells Fargo. The terms were no interest until 2010. I was never told there were to be minimum payments or when/if they were due.
Years ago I purchased new appliances from Home Depot and had the same terms. I chose to pay them off in full on the date it was due. I did so with no problem. Well immediately I started receiving phone calls from Wells Fargo telling me I was late and would be charged a $35.00 late charge. I told them that's impossible I have a no interest loan until 2010. Needless to say I paid them through my online banking account the $35.00 plus $35.00 late charge=$70.00. There was no date given as to what would be a PAYMENT DATE. Another time I spoke with the caller and
when I asked why they kept calling me after I paid them he shouted at me and said they never received the payment. While talking to him I went to the bank's web page and pulled the payment history for Wells Fargo. Not only had they received payment it told me the day and each month thereafter a payment for $35.00 He told me he would call me non-stop if he had to. They continued to call/harass me NINE times a day SEVEN days a week. I stopped answering the phone when I saw it was them.
The pillow top mattress slowly became defective four months after I got it. I thought I was imagining it as the salesman specifically told me it would "bounce back immediately". After stopping into the store I was told to give it some time. I did to the point I was waking up each night and the next morning with a terrible backache. I then sent an e mail to Simmons explaining the problem which they never responded to. I again went to the store and insisted he make a formal complaint. With that he sent someone out to measure the depth of the permanent
depression=1 3/4".
The store contacted me a week later and told me their representative from Simmons said they would replace it. At this point with all the hassle from Wells Fargo and now a defective mattress, I said no, I wanted my money back. The store called back and said their Simmons contact refuses to return the mattress. I then called Simmons myself and was rudely told the same thing by someone there. At this point I called the store back and told them the same thing I did Simmons, fine I would write a letter to the Attorney General's office and to the BBB. Debbie at the store told me to hold off as I wasn't the only one having problems with Simmons and she would see what she could do. A week later she called back and said they would return it and repay me what I had paid Wells Fargo.
Herein lies the problem. I paid Wells Fargo $245.00 in 2006 and $105.00 in 2007(online bank statements as proof). They told Banner I would only receive $280.00 back as I had 8 late charges of $25.00 each. The store and I both do not understand how they can say this as that is not what the salesman presented as the contract when purchasing the mattresses. Before I call Wells Fargo I would like to know what I can tell them to get my full refund? How do you fight a company who treats their customers as badly as they do by harassing phone calls each and every day to an obsessive amount of nine times?
Update of April 23, 2007: From the mailbag --
Subj: Wells Fargo Auto Finance
Date: 3/27/2007
From: [Name withheld in this format]
To: Inner City Press
I purchased a vehicle in February of 2006. It was financed through Wells Fargo Auto Finance. From February to November everything was fine. Then everything started to unravel. We made our November and December payments. Then on December 28th, we got a phone call from collections saying that we were 9 days late on our December
payment. I assured them that we were not. I told them the payment was made on December 19th. They informed me that payment was to cover November's payment.
I went back to check my bank statements. The November payment cleared on the 21st of November. The December payment cleared on the 22nd.
Come to find out, Wells Fargo received my November payment, but claims to have reversed that payment and sent it back. Unfortunately, that money was never received by me or my bank. So I faxed my bank statements showing the payment being deducted from my account and a confirmation number showing it going to Wells Fargo.
I get 4 to 5 calls from collections everyday, unless I ask to be removed from the call pool. Then I only get calls every 5th day. They claim that I am behind. They are assessing $10 late fees all over the place and reporting my payment history to the credit bureaus. All because they cannot see that they made a simple mistake and correct it.
Do you think that anyone has actually taken the time to apologize for all of this? One person named Wayne was very apologetic...and I felt he was sincere. I have talked to approximately 100 people...and only one had the guts to say that Wells Fargo should not be taking this long to correct the issue. As others have stated, I will never again do business with Wells Fargo.
Update of April 2, 2007: From the mailbag --
Subj: Wells Fargo Auto Finance
Date: 3/27/2007 10:29:50 AM Eastern Standard Time
From: [Name withheld in this format]
To: Inner City Press
I purchased a vehicle in February of 2006. It was financed through Wells Fargo Auto Finance. From February to November everything was fine. Then everything started to unravel. We made our November and December payments. Then on December 28th, we got a phone call from collections saying that we were 9 days late on our December payment. I assured them that we were not. I told them the payment
was made on December 19th. They informed me that payment was to cover Novembers payment. I went back to check my bank statements. The November payment cleared on the 21st of November. The December payment cleared on the 22nd.
Come to find out, Wells Fargo received my November payment, but claims to have reversed that payment and sent it back. Unfortunately, that money was never received by me or my bank. So I faxed my bank statements showing the payment being deducted from my account and a confirmation number showing it going to Wells Fargo.
I get 4 to 5 calls from collections everyday, unless I ask to be removed from the call pool. Then I only get calls every 5th day. They claim that I am behind. They are assessing $10 late fees all over the place and reporting my payment history to the credit bureaus. All because they cannot see that they made a simple mistake and correct it.
Do you think that anyone has actually taken the time to apologize for all of this? One person named Wayne was very apologetic...and I felt he was sincere. I have talked to approximately 100 people...and only one had the guts to say that Wells Fargo should not be taking this long to correct the issue.
I am getting ready to turn this over to the Better Business Bureau. Hopefully the can help me out. Because as we all know, Wells Fargo is not doing it. As others have stated, I will never again do business with Wells Fargo.
Update of March 5, 2007: From the mail bag:
Subj: Wells Fargo And ASC
From: [Name withheld in this format at] malmstrom.af.mil
To: Inner City Press
I have been with Wells Fargo for a number of years. Not been a stellar client as far as my checking account goes I am ashamed to admit. But I am admitting it because it helps make sense of what recently happened. Christmas time I happened upon a secret shopping opportunity through what I thought was a trusted internet site. I proceeded to deposit the check assuming that Wells Fargo verifies funding. They held the check and released the money to me. As I turns out I was defrauded and the cashier�s check was stolen. When I asked Wells Fargo what happened to the verification, they stated that, �We only verify checks that are suspicious.� I told them that I had not been a stellar client and didn�t they think that a deposit of $4700 to an account that has NEVER had $4700 in it before would be suspicious? I mentioned to them that they at one time held a check for $300 from my father for three days. They are still holding me responsible for the money!
And they also sold my mortgage to ASC where I have had many problems with billing. Lost checks, late payments, etc. I had no idea that this info existed. Suppose I will be refinancing now!
Update of February 26, 2007: Wells Fargo last week gave WARN Act notices to 250 subprime lending workers in South Carolina...
Update of January 1, 2007: We begin the year with a blind item. Which person recently ejected from Wells Fargo Mortgage in Milwaukee after being charged with race discrimination has resurfaced at Chase Mortgage? And isn't there some duty to tell future employers, to protect future consumers?
Update of November 20, 2006: Wells Fargo Auto Finance brags that its "Full Spectrum Pricing'' program enables the bank to serve prime and nonprime customers -- more predatory lending...
Last week Inner City Press sat down for an interview with the president of the Nagorno-Karabakh Republic, Arkady Ghoukasyan, and asked him about the fires, about the United Nations and other matters. Click here for the footage, on Google Video.
Update of October 2, 2006: Florida is suing a "Tampa-area company called Global Information Group Inc., claiming it made thousands of calls impersonating customers of companies including Verizon Communications Inc., tricking them into providing private call records. Earlier this year the company's principals agreed to pay $250,000 to settle the case, and to cease any pretexting activities." Global Information's customers include Wells Fargo...
Update of August 28, 2006: Wells Fargo sleaze, from the LA Times: Wells Fargo's supposed safeguards for detecting illicit banking activities by terrorists, drug smugglers and other criminals were so weak that federal regulators should have publicly reprimanded the San Francisco-based bank, according to a Treasury Department report released last week. Instead, senior banking regulators met with Wells Fargo CEO Dick Kovacevich, then overruled their own staff by letting Wells off with an informal enforcement action -- sparing Wells the scrutiny and embarrassment suffered by other banks that have been forced to disclose that regulators faulted their oversight systems.
"We believe that [the Office of the Comptroller of the Currency] should have acted more quickly and forcefully to require Wells to strengthen its compliance and that OCC's failure to take formal enforcement action against Wells sent the wrong message to the banking industry about OCC's resolve to ensure that banks comply" with the Bank Secrecy Act, the inspector general's report said. The OCC staff recommended Feb. 4, 2005, that a formal cease-and-desist order be issued to Wells Fargo. Dick Kovacevich met five days later with top OCC officials, including Acting Comptroller of the Currency Julie Williams, who was then running the agency. After that meeting, the OCC pulled the recommended action from consideration by its top supervisory review committee, according to the report. On April 12, 2005, a new memo was issued recommending that the agency take informal action. Who's put at risk by Wells Fargo's laxities? For or with more information, contact us.
Update of July 31, 2006: More Wells and furniture: "El Dorado Furniture's success with its private-label credit card program has earned it the Wells Fargo Financial Retail Services Client Award. Wells Fargo presents the award to deserving clients based on program participation and credit card sales volume. 'We are honored to be recognized for our successful partnership,' said Robert Capo, vice president of the nine-store Florida retailer"...
Update of July 24, 2006: Wells Fargo last week missed Wall Street earnings expectations by a penny in the second-quarter because it sold off adjustable rate mortgages and debt securities in the quarter at a $250 million loss. In Wells furniture news, this: "La-Z-Boy is a brand name consumers have known and trusted for close to 80 years," said Dan Abbott, president of Wells Fargo Financial Retail Services. 'We look forward to helping them continue to build brand awareness and attract new customers with the La-Z-Boy Furniture Galleries MasterCard credit card program.'" What's next? Water beds?
Update of July 17, 2006: Wells Fargo is the eighth largest services of subprime mortgages in the country, with $25 billion, an increase of 3.39 percent from the year before...
Update of July 10, 2006: Indictment from another angle: environmental advocates note that Wells Fargo has invested millions of dollars in Massey Energy, which they say is destroying Appalachian communities with mountaintop coal removal...
Update of July 3, 2006: From Canada NewsWire of June 27: "Wells Fargo Financial Canada is looking for a bigger share of the non-prime mortgage market"...
Update of June 26, 2006: Mattress work, from a press release last week: "Mattress Firm, the No. 1 retailer of Sealy Mattress products, was recently honored as a recipient of the Wells Fargo Financial Retail Services Client Award... 'Mattress Firm continues to demonstrate its commitment to acquiring new customers and encouraging repeat purchases'... said Mark Hicks, senior vice president for Wells Fargo Financial Retail Services."
Update of June 19, 2006: From "The Oregonian" newspaper of June 15:
"Federal Home Mortgage Disclosure Act statistics analyzed by Wells Fargo Home Mortgage, for example, show that single women took out 13,246 home mortgages in the Portland area in 2005, about 20 percent of all loans for purchases. That's roughly in line with the Realtor association's national average. The numbers crunched by Wells Fargo also suggest, however, that single males made 16,389 purchases in the Portland area during the same period, or 25 percent. That's significantly higher than the association's numbers. The problem is that the two sets of numbers don't allow for apples-to-apples comparisons. Walter Molony, spokesman for the National Association of Realtors, said the federal HMDA numbers don't include cash purchases and mortgages from small lenders. So they show only part of the picture, he concludes."
So now Wells Fargo is "crunching" HMDA data for newspapers? But Wells Fargo elsewhere says that HMDA data don't prove anything....
Update of June 12, 2006: From the mail bag:
Subject: Fair Finance Watch
To: WellsWatch [at] innercitypress.org
Sent: Fri, 9 Jun 2006 10:53:14 -0400
Fact of impossibility- My husband and I were recently approved for financing by Prosperity Mortgage (brokers affiliated with Wells Fargo) at 58% debt to income ratio. Our current annual salary puts us at the 28% federal income tax bracket. It is obvious that we do not have the means to make the payments of these expenses. How is it possible that we were approved if the payments are impossible to make? Aren�t mortgage companies in the business of making money- not reselling properties that have been foreclosed upon?
You'd think...
Update of May 15, 2006: In all the talk of Wachovia's Golden West deal last week, the Charlotte Observer noted that it makes any "link up" between Wells Fargo and Wachovia less likely. So where might Wells go? Fifth Third? Damaged goods...
Update of May 8, 2006: It's happened again. On May 5, Wells Fargo announced by press release that a computer containing confidential data about mortgage customers and prospective customers was missing and may have been stolen. Wells blamed it on "a global express shipping company" that had been delivering the computer from one of the bank's facilities to another. The missing data include names, addresses, Social Security numbers and mortgage loan deposit numbers....
Update of May 1, 2006: Corporate watch -- among the companies served or previously served by those who last week won Wells Fargo board elections by Saddam Hussein-like margins are US WEST, PricewaterhouseCoopers, Pacific Telesis Group, Agensys, Foster Pepper PLLC, General Mills, SUPERVALU INC., and T-Mobile. Calling all...
Update of April 24, 2006: Inner City Press / Fair Finance Watch has conducted a comparative study of 2005 Home Mortgage Disclosure Act data, this time focused on New York City, and has found Wells Fargo denied applications from The Bronx three times more frequently than applications from Manhattan in 2005. Meanwhile, in Des Moines last week, Dick Kovacevich bragged that "Our growth here is nothing short of phenomenal. One out of every 245 Iowans works for Wells Fargo." No talk of the underlying corporate welfare, nor of Wells' questionable subprime lending...
Update of April 10, 2006: The 2005 Home Mortgage Disclosure Act data, which Inner City Press / Fair Finance Watch received in late March from Wells Fargo, reveal that, considering all conventional first-lien loans, Wells Fargo in 2005 confined African Americans to rate spread loans 3.31 times more frequently than whites. The Federal Reserve has defined higher-cost loans as those loans with annual percentage rates above the rate spread of three percent over the yield on Treasury securities of comparable duration on first lien loans, five percent on subordinate liens. More analysis will be forthcoming. For now, we note that in 2005, Wells Fargo made 795 super high-cost loans subject to the Home Ownership and Equity Protection Act (HOEPA) -- that is, using one definition, at least eight percent over comparable Treasury securities. Usury, anyone? Developing.
Update of April 3, 2006: At the subprime lender Wells Fargo Financial, the beat goes on, from West Coast to East. In the news last week, in Lancaster, California at the Lancaster Town Center mall at 10th Street West and Avenue K. And east in Florida, at Wells Fargo Financial America Inc., 3280 N. John Young Parkway in Kissimmee. Predatory lending is on the move...
Update of March 27, 2006: the Federal Reserve has now asked about Santander's acquisition from Wells Fargo of the subprime lender Island Finance, asking for detail on Santander's due diligence on Island. Santander responds that it will file by March 29, and that it considered much about Island Finance, including Home Mortgage Disclosure Act compliance. We'll see...
Update of March 6, 2006: Payday lender ACE Cash Express last week put out a press release bragging that that it has "amended its existing bank credit facility" with the involvement of Wells Fargo Bank is the Administrative Agent and Co-Lead Arranger."
Update of February 27, 2006: Some are citing the Des Moines parking lot of predator Wells Fargo Financial as a good example of eminent domain. But wasn't / isn't it rather corporate welfare?
Update of February 20, 2006: Wells� sell-off to Santander of Island Finance in Puerto Rico was rubber stamped by the FTC last week, via an early termination of the waiting period required under the Hart-Scott-Rodino Antitrust Improvements Act�
Updated February 13, 2006: From the Buffalo News of Feb. 6: �In New York State, Wells employs 1,430 in offices in 47 cities. Its businesses statewide include Acordia, Wells Fargo Home Mortgage, Wells Fargo Century, Wells Fargo Equipment Finance, Wells Fargo Securities and Wells Fargo Financial.� That last one is the subprime� Also on Feb. 6, Wells Fargo announced via press release that �it has expanded its association with NASCAR's Petty Enterprises beyond Wells Fargo Financial, its consumer finance business, to encompass Wells Fargo Home Mortgage and all the company's business groups.� Petty subprime�
Update of February 6, 2006: In the run-up to Super Bowl XL in Detroit, Inner City Press / Fair Finance Watch has analyzed mortgage lending patterns in the Detroit Metropolitan Statistical Area in the most recent year for which data is available, 2004. At Wells Fargo Bank, N.A., American Americans were over 7.2 times more likely to be confined to higher cost loans than whites, and Hispanics were over 2.8 times more likely to be confined to higher cost loans than non-Hispanic whites�
Update of January 30, 2006: Santander has announced a proposal to acquire the problematic subprime lender Island Finance (on which ICP has previously commented to the FRB) from Wells Fargo. ICP first became aware of Wells Fargo's subprime lender Island Finance in 1997, when the company (1) opened an office at 2866 Third Avenue in the South Bronx which charged 25% interest rates to all customers, without regard to credit history, then (2) closed the office and required the customers they'd lured to travel to a Wells Fargo Financial office in Queens or have "lates" imposed on their credit history (see sVillage Voice of July 15, 1997). Wells' Island Finance is (sub-) headquartered in San Juan, Puerto Rico, and has branches in Panama, Aruba, the U.S. Virgin Islands, and the Netherlands Antilles. It is a high-rate lender, and is also embroiled in litigation with its employees. See, e.g., Jagroop v. Island Fin. V.I., Inc., (U.S. District Court for the District of the Virgin Island, Division of St. Croix), 240 F. Supp. 2d 370; 2002 U.S. Dist. LEXIS 25153. Tellingly, Wells CEO Dick Kovacevich lobbied in person in May 2002 against a proposal in the Puerto Rican legislature, House Bill 1288, to impose a usury cap of 19.75%. See, Caribbean Business, May 16, 2002, quoting 27% interest rates and Kovacevich that, with the proposed rate cap, " I feel I�m being told Wells Fargo is not welcome in Puerto Rico... I don�t want to be threatening, just factual," and characterizing Wells as the U.S.'s "number one 'NAFTA bank,' with more banking stores and assets than any competitor within 60 miles of Mexico and Canada." In acquiring Island Finance, Kovacevich said that it portended further expansion into other Latin American markets." (PR Newswire of May 4, 1995.) At the time, Wells stated that it had recently also "acquired Reliable Financial Services, Inc., an auto finance company headquartered in Rio Piedras, Puerto Rico, which manages $200 million in receivables." (PR Newswire of January 12, 1998.) Wells also lists "Island Finance" subsidiaries in the Cayman Islands, British West Indies, and in Trinidad and Tobago -- these are apparently not proposed to be acquired by Santander, although the precise scope of Santander�s proposal needs to be inquired into, publicly, by the Federal Reserve Board... .
Update of January 23, 2006: Pretending to be green, last week Wells Fargo announced the hiring of a new �of head of environmental finance.� He�s Barry Neal, previously a founding partner of El Paso Energy Corp.'s EP Power Finance LLC. How very environmental�
From the mailbag:
Subject: Wells Fargo Financial - Unfair and miss leading Business Practices
Date: 1/18/2006 12:20:37 PM Eastern Standard Time
From: [Name withheld]
To: WellsWatch [at] innercitypress.org
I like to share this with your readers so to warn them of this injustice. I took a loan for $7,500 in July of 2002 for home improvement from Wells Fargo Financial. The loan was broken down to 60 installments of $182.38 totaling to 1,0942.80 from which $3,442.80 was the interests for 60 months. I paid off the loan after I got my first statement in July of 2002. As of December of 2005, I have been receiving statements for the amount of $182.38.
I am told that although I paid off $7,500 I paid it towards my payments ahead of time and not paid off the loan. So after 3 years, I still owe Wells Fargo the interest on the original $7,500, which amounts to $3,442.80. I spoke to the Customer service on the phone and he kept saying the same thing and was unwilling to get that I cannot owe any finance charges if I paid of the original loan.
I am surprised how a large financial institution will not understand basic mathematics and is playing such tricks on their customers. After having a saving account with this organization for over 20 years, I plan to close my accounts and move on with a more reliable and honest organization with some integrity.
Update of January 9, 2006: Last week�s American Banker reminds of Wells and money laundering: �industry observers said the [new OCC] guidance was a clear response to questions raised last year about its supervision of Wells Fargo & Co. Senior OCC managers overturned the recommendations of field examiners that Wells receive a formal cease-and-desist order for anti-laundering lapses. A February memo recommended a public enforcement action, but after a meeting between Julie Williams, then the acting comptroller, and Richard Kovacevich, the chief executive officer of Wells, the memo was redrafted to recommend a less strict, nonpublic action�. The Treasury Department's inspector general is investigating the matter and is expected to issue a report next month.�
Update of December 26, 2005: The NASD on December 19 fined Wells Fargo $3 million, for abusive fund sale practices: steering investors into inappropriate fund share classes. Instead of selling class A shares Wells Fargo pushed class B and class C shares, which were less suited to the investors' needs, the NASD said. So: predatory in fund sales too�
Update of December 19, 2005: an APB from Salem, Oregon, where an employee of the subprime Wells Fargo Financial has moved over to the supposedly prime Wells Fargo Home Mortgage. Bringing predatory lending along? He could be asked � he�s pitching his number, at 503-982-2788� Higher up, selling at the top. Insiders at Wells, including Dick Kovacevich, sold a net 120,091 shares this quarter, according to SEC filings�
Update of December 12, 2005: Last week Wells CEO Dick Kovacevich said the company isn't interested in buying a stake in GMAC, stating that it wouldn't fit with Wells Fargo's usual strategy of not being a partial owner of business lines. This seems inconsistent with Wells' many "joint ventures" in mortgages, including subprime mortgages...
Update of December 5, 2005: Military personnel on active duty are being overcharged on high interest loans by banks including Wells Fargo, a new investigation of compliance with the Servicemembers� Civil Relief Act (SCRA) by Inner City Press / Fair Finance Watch has uncovered. Through documents obtained under the Freedom of Information Act, ICP had documented widespread violations of the SCRA, defrauding and overcharging of those in active military service, and regulatory inertia in dealing with the abuses.
The Servicemembers� Civil Relief Act, at 50 USCS Appendix Section 527(1)(a) provides that �An obligation or liability bearing interest at a rate in excess of 6 percent per year that is incurred by a servicemember, or the servicemember and the servicemember's spouse jointly, before the servicemember enters military service shall not bear interest at a rate in excess of 6 percent per year during the period of military service.�
The purpose of the SCRA, formerly known as the Soldiers� and Sailors� Civil Relief Act, is to provide interest rate relief and other protections �to servicemembers of the United States to enable such persons to devote their entire energy to the defense needs of the Nation.� Section 502.
Wells Fargo�s practices are reflected in the complaint to the OCC now online at www.innercitypress.org/wellsscra54.jpg
�On [ ] January 2003, my Army Reserve Unit, the [REDACTED] received notification of mobilization and deployment to the Persian Gulf area. Within days I received my individual mobilization order, which specifically stated I was mobilized in accordance with Title 10, a Presidential call up, in support of Operation Enduring Freedom. I contacted Wells Fargo whom I had 2 home equity accounts with, and advised of my mobilization and the fact that I was eligible to receive a reduced interest rate of 6% on my two outstanding home equity accounts per the Soldiers and Sailors Civil Relief Act of 194[0]� In mid July 2003 I returned to my residence from the Persian Gulf at which time I learned from my wife that Wells Fargo never reduced our interest rate to 6% as is required by Federal law��
ICP will be pursuing these issues further. For or with more information, contact us.
Update of November 28, 2005: Inner City Press / Fair Finance Watch is analyzing Gulf Coast mortgage lenders in the Katrina-zone, identifying those which in 2004 had the worst disparities between the percentage of African American and white borrowers who were charged higher costs, over the Federally-defined rate spread of 3% over comparable Treasury securities on a first lien loan, 5% on subordinate liens. Interim results including this finding, that in the New Orleans Metropolitan Statistical Area, Wells Fargo Bank, NA in 2004 was 3.4 times more likely to confine African Americans to higher cost rates spread loans than whites�
Update of November 21, 2005: Wells Fargo disclosed last week that the �increased level of consumer bankruptcies filed before new bankruptcy laws took effect Oct. 17 will widen its fourth-quarter net loan charge-offs by an estimated $175 million, or 7 cents per share, after tax.� So Wells took a charge for initializing effect. But after that, it�s all gravy...
Update of November 14, 2005: Feeling lucky? Last week Ameristar Casinos announced that that it has a new $1.2 billion senior secured credit facility arranged by... Wells Fargo Bank, N.A.. Meanwhile Wells also served as trustee on securities backed by subprime loans by Option One, which along with its affiliate H&R Block Mortgage makes more than 70% of its mortgages to African Americans in Missouri over the federally defined rate spread, of 3% over comparable Treasuries on a first lien, 5% on subordinate liens...
Update of November 7, 2005: Wells Fargo has set aside $100 million to cover the impact that Hurricane Katrina might have on its loan portfolio. Howard Atkins, Wells' CFO, told the WSJ that the bank continues to evaluate the impact of Katrina. "We may find we don't need the $100 million," he said...
Update of October 31, 2005: The M&A grapevine tolls for Fifth Third, with publications from New York, Minneapolis and Cincinnati all predicted last week 5/3�s imminent take-over by Wells Fargo. Birds of a CRA-arrogant feather may flock together. We'll see.
Update of October 24, 2005: Wells Fargo Financial saw its profit drop by 53% to $79 million. The company said that was largely because the division set aside $100 million to cover loans it expected to go bad because of Hurricane Katrina. But many of these loans were unaffordable and unsuitable prior to any hurricane...
Update of October 17, 2005: We must of course note the U.S. District Court�s decisions in the cases by the OCC and the Clearing House banks -- including Wells Fargo --against the NY Attorney General, to avoid providing the credit score information they say would justify the racial disparities in their lending. Why should the public believe a defense that they go to court to conceal? Whether or not an appeal is taken, and whether or not it�s successful, the public must demand that the OCC bring enforcement action(s) on Wells Fargo�s disparities, and must separately pursue them, far and wide and ceaseless...
Update of October 10, 2005: We like edgy arts -- but not by predatory lenders. Last week the David Rockefeller-founded Business Committee for the Arts have an awarded to the Wells� subprime unit Wells Fargo Financial, which during the construction of its lair in Des Moines, allowed the surrounding wooden fence to become �a canvas for murals by Iowa artists.� How touching...
Update of October 3, 2005: From CNBC of September 25:
BARTIROMO: Now Wells Fargo offers a high percentage of sub-prime lending, and in that kind of lending, you're talking about triple the rate of foreclosures. Is that a concern for you?
KOVACEVICH: Well, we have--you have to price for that risk when you are--the most important thing is that you give borrowers a chance to borrow money. And these are riskier borrowers and you have to charge a higher rate for that risk. But you can't red-line this group. These are people who need loans, who want to buy a home, and we simply charge more for the risk that we're taking. And so far, that has turned out to be a good business for us. But as importantly, it's allowed people to buy homes, get into home ownership, that they wouldn't be able to do if we didn't offer these products to higher-risk, lower-income people.
Question: while not conceding those points, how do they address the non-mortgage part of Wells subprime lending? High cost furniture loans and the like?
BARTIROMO: And what's your take on the current national post-Katrina story about race divisions in this country and the haves and the have-nots?
KOVACEVICH: Well, I think unfortunately there is some of that. But I think what we all have to do is work together to make sure that we reduce and eliminate any discrimination of any type. And companies, I think, corporate America has to take a leadership position in this because it starts with employment. And if people are employed, you know, they have jobs; they can integrate well into society. And the real tragedy is if you don't have a job, and what we ought to do is make sure that everyone has a job and not discriminate in any way in employment.
We�ll see...
Update of September 26, 2005: We've looked closer at Wells Fargo's 2004 lending record, this time in the Nashville MSA, considering which loans are subject to a rate spread (3% higher than comparable Treasuries on a first lien, and 5% on a subordinated lien) -- Wells Fargo in the Nashville Metropolitan Statistical Area in 2004
Whites: 2009 originations, 187 over the rate spread (11.81% of loans over the rate spread)
African Americans: 198 origination, 59 (38.02%) over the rate spread -- 3.20 times higher than for whites...
Meanwhile, HUD last week announced a $48,000 settlement with Prudential Locations, LLC for violations of the Real Estate Settlement Procedures Act. HUD found that Prudential's Honolulu real estate brokerage office leased a luxury car, offered vacations and provided other gifts to reward sales agents that referred business to an affiliated mortgage company. Prudential is affiliated with and has a financial interest in Wells Fargo Home Mortgage Hawaii, LLC. HUD's investigation found that Prudential hosted a �First Annual Wells Fargo Friends Party� and invited only those sales agents that referred over $1 million in business to Wells Fargo. Great...
Update of September 19, 2005: Wells Fargo Financial Acceptance trumpeted its subprime auto loans in Canada, naming its �Stagecoach Award� partners / co-conspirators, including St. Jean Mazda of St-Jean-sur-Richelieu, QC. How do you say predatory lending en francais?
Update of September 12, 2005: From last week�s Mercury-News: �Antonio Lopez and Fabiolo Estrada... said they were contacted in 2003 and 2004 by phone by a broker from Wells Fargo Financial, the San Francisco bank's subprime lending unit. Convinced that refinancing their East San Jose home would help them pay off some department store bills and other debts, the couple refinanced in 2003 into a Wells Fargo loan with an interest rate of about 7.4 percent. Less than a year later, in early 2004, the broker suggested they refinance again to lower their interest rate. They got a 30-year loan with a rate of 6.25 percent for three years, which could rise later when the loan became adjustable. What they didn't realize, they said, was that the two loans were netting Wells Fargo and their loan representative a whopping four "points" each -- $ 27,000 in total fees and commission. It also cost them an additional $ 17,000 for a "prepayment penalty" for paying off the 2003 loan early. And their second loan would probably get steeply more expensive in a few years, requiring them to pay a lot more or refinance yet again. The couple, who had refinanced in the past, say they thought both loans had fixed rates for 30 years, and they didn't know how much they were paying the broker or about the prepayment expense. They said if their loan representative told them, he explained it at "150 miles per hour," Lopez said. "If I knew what I know now, I never would have refinanced so much," Lopez said. Wells Fargo said it cannot discuss the Lopez-Estrada loan, but said four points is standard when making loans to borrowers with subprime credit standing. The bank's senior vice president for its home and consumer finance group, Lynn Greenwood, said Wells Fargo would have taken into account any late payments on any debts, credit score and overall indebtedness when deciding the couple's loan rate.�
Update of September 5, 2005: On August 30, Wells Fargo announced what it called improvements to its lending practices. Many of the reforms are less meaningful than claimed. For example, any fanfare about dropping mandatory arbitration now that anti-consumer class action reforms have been passed, and the GSEs no longer buy loans with arbitration clauses, is misplaced. As set forth in Inner City Press� Gulf Coast Watch, in Louisiana in 2004, over 30% of Wells Fargo�s mortgages in Louisiana were higher cost, rate spread loans. Click here for more of ICP�s Gulf Coast Watch .
Update of August 29, 2005: De rumores -- last week the British press was aflutter with the rumor that Wells Fargo would bid on Lloyds TSB. We�ll see...
Update of August 22, 2005: On the furniture loan beat: "�We have seen favorable results with longer-term promotions, which allow cardholders to spread their payments out over an extended period of time, such as 12, 18 or 24 months,� said Terry Fuller, senior vice president of business development for Wells Fargo Financial Retail Services.�
Yeah -- extend the time, pay more in interest...
Update of August 15, 2005: On August 11, Wells Fargo settled for $34 million a lawsuit accusing it of charging excessive credit card processing fees to businesses. Merchants accused Wells Fargo of extracting a variety of fees it never disclosed, and failing to explain the fees when asked. Sounds like Wells...
Update of August 1, 2005: From the mail bag, catching up:
Subj: WELLS FARGO
Date: 7/12/2005 8:06:32 PM Eastern Standard Time
From: [Name withheld]
To: WellsWatch [at] INNERCITYPRESS.ORG
FOR ABOUT 10 YEARS I HAVE HAD AN ACCOUNT WITH WELLS FARGO AND NEVER HAD PROBLEMS UNTIL JAN. 05, I HAD ARRANGEMENTS FOR MY CHECKING ACCOUNT TO BE DEBITED MONTHLY TO PAY MY CARNOTE. HOWEVER, I RAN INTO A PROBLEM AND WAS SHORT OF MONEY ON THE DUE DATE, AND CALLED THE BRANCH TO HAVE THEM WAIT 2 DAYS UNTIL THEY DRAFTED THE PAYMENT, I CALLED AND MADE THE ARRANGEMENTS FOR THE 30TH INSTEAD OF THE 28TH. WELL, MY ACCOUNT WAS DEBITED ON THE 30TH AND ALSO ON THE 28TH, WHICH CAUSED BOTH TO BE NSF. I HAD NO IDEA UNTIL A WEEK OR SO LATER THAT MY CHECKING ACCOUNT WAS DEBITED TWICE IN 2 DAYS , WHICH OF COURSE, AS YOU CAN IMAGINE , MY SHOCK AND HORROR OF MANY NSF NOTICES IN MY MAILBOX. I CALLED WELLS FARGO TO FIX THE PROBLEM, BUT JUST GOT THE RUN AROUND. THEY TOLD ME TO CALL CUSTOMER DISPUTES , SO I DID , AND WAS TOLD TO FAX A BANK STATEMENT. I FAXED MY BANK STATEMENT, WHICH CONTAINED BOTH DEBITS AND A NUMBER OF NSF FEES, AND STILL AS OF THIS DATE , HAVE NOT HEARD A WORD. I HAVE TRIED TO CALL CUSTOMER DISPUTES AGAIN, BUT NO ONE WILL RESOLVE THIS ISSUE, AND NOW , MYSTERIOUSLY, CUSTOMER DISPUTES DOES NOT EXIST. TO DATE, I AM BEING HARRASSED ON A DAILY BASIS, WELLS FARGO CLAIMS I AM A MONTH BEHIND ON MY CAR PAYMENT. A COLLECTOR CALLED ME AND TOLD ME MY ACCOUNT IS BEING REVIEWED BY THE REPO COMMITTEE, AND HE ALSO TOLD ME HE DID NOT CARE WHAT WELLS FARGO DID TO MY ACCOUNT AND FOR ME TO STOP TALKING IN CIRCLES , THAT I STILL HAD TO PAY THE NSF OR LOSE MY CAR. EVEN ON THE DAY THEY GET A PAYMENT, THEY WILL CALL TO SEE WHEN I AM GOING TO SEND ANOTHER. THEY CALL ME AT WORK , AT HOME SEVERAL TIMES A DAY. I HAVE THOUGHT OF CONTACTING AN ATTORNEY AND SUING THE HELL OUT OF THEM. I HAVE NEVER MISSED A PAYMENT. BUT THEY WILL NOT LISTEN TO ME OR RESOLVE THE SITUATION , OR EVEN REFUND MY NSF CHARGES THEY CAUSED.
Update of July 5, 2005: From the June 30 American Banker: �Some observers argued that any formal enforcement action would have prevented Wells from making acquisitions, such as the one it completed last week for First Community Capital Corp. of Houston. The $124 million deal was approved by the Federal Reserve Board, which noted that Wells was implementing improvements to its anti-laundering program. When the OCC memo became public, Wells' chief counsel, Jim Strother, acknowledged the anti-laundering problems and said his company was working to correct them. He would not discuss Wells' relationship with the OCC.�
Of course, the OCC is suing to shield Wells Fargo from a fair lending inquiry from the New York State Attorney General...
More Wells Fargo in the shadows: the June 27 edition of the publication Furniture Today reported that �buying group Furniture First says it will offer a private-label credit card program through Wells Fargo Financial Retail Services. Wells Fargo will provide Furniture First members with account management and sales support, sales training, individualized client support, integrated technology and custom marketing solutions. Furniture First said the program will include a dedicated line of credit for approved customers, promoting larger purchases,� etc..
Update of June 27, 2005: The Federal Reserve�s June 23, 2005, Wells Fargo order
recites that ICP �alleged that Wells Fargo engaged in discriminatory lending based on a review of the prices of loans extended to African-American and Hispanic borrowers as compared to white borrowers in 2004. The commenter based this allegation on 2004 HMDA data derived from loan application registers that it obtained from Wells Fargo. These data are preliminary and 2004 data for lenders in the aggregate are not yet available.� But since ICP�s assertions concerned Wells Fargo�s treatment of African Americans and whites (as well as comparing Wells to other lenders, whose data the Fed also has), here the Fed is hiding its head in the sand. Similarly on money laundering: while an OCC employee whistle-blew about the OCC letting Wells off the hook on Bank Secrecy Act laxity, the Fed�s order says �banking organizations operating in the United States are required to implement and operate effective anti-money laundering programs. In this case, the Board has considered the existing compliance risk-management systems and internal audit programs at Wells Fargo and the assessment of these systems and programs by the relevant federal and state supervisory agencies. The Board has also considered information provided by Wells Fargo on enhancements it has made and is currently making to its systems.� Yeah, right...
The Fed also recites that ICP �expressed concern about Wells Fargo�s and WF Bank�s information-security systems and cited a press report describing three instances of theft of computers containing information relating to customers of Wells Fargo�s subsidiaries. Wells Fargo represented that it is not aware of actual identity theft or fraudulent activity as a result of these incidents and that it provided potentially affected customers with notice of the thefts and credit bureau monitoring and identity theft insurance services. In reviewing Wells Fargo�s application, the Board has considered the enhancements Wells Fargo is making to its information security systems and has consulted with the OCC, the primary federal supervisor of WF Bank.� This in an environment of accelerating violations of consumers� privacy...
In footnote 13, the Fed says that ICP �criticized Wells Fargo�s relationships with unaffiliated payday and car title lenders and other nontraditional providers of financial services. Wells Fargo represented that it has acted as a lender or provider of credit facilities and in other ordinary business relationships to unaffiliated consumer finance businesses, which may include payday and title lenders. Wells Fargo stated that it does not participate in the credit review process of such lenders and customarily requires the entities to represent, warrant, and covenant to Wells Fargo in credit agreements that such entities have and will comply with all applicable laws in the conduct of their business.� What�s being referred to here includes Wells Fargo funding a payday lender that is explicitly (and exclusively) directed at active duty military personnel... Meanwhile last week, the Air Force newswire reported that the �Defense Department has launched a new effort to educate servicemembers about the dangers of borrowing from �loan-shark� lending companies and to teach them how to avoid ending up in a spiral of compounding debt, a DOD official said here June 17. The most prevalent type of loan-shark lending affecting servicemembers is what is known as �payday loans,� said John Molino, deputy undersecretary of defense for military community and family policy.� But on the issue of Wells Fargo�s lending to payday lenders which target military personnel, the Fed has done nothing...
The Fed also says that �although the HMDA data may reflect certain disparities in the rates of loan applications, originations, and denials among members of different racial groups in certain local areas, the HMDA data do not demonstrate that the WF Prime Lenders are excluding any racial group on a prohibited basis. The Board, nevertheless, is concerned when the record of an institution indicates disparities in lending and believes that all banks are obligated to ensure that their lending practices are based on criteria that ensure not only safe and sound lending, but also equal access to credit by creditworthy applicants regardless of race or income level.� So the Board is concerned. Where�s the action?
In note 34, the Fed says that ICP �criticized the customer service and complaint procedures of a Wells Fargo subsidiary engaged in subprime lending in Puerto Rico and urged the Board, without specific allegations, to closely scrutinize the subprime lending operations of Wells Fargo in general. Wells Fargo originates subprime mortgage loans through WF Financial and Island Finance, and numerous joint ventures originate subprime loans that are underwritten and processed through WF Mortgage�s unit, Wells Fargo Mortgage Resource. WF Financial and Island Finance are nonbanking subsidiaries of Wells Fargo. As the Board has previously noted, subprime lending is a permissible activity that provides needed credit to consumers who have difficulty meeting conventional underwriting criteria. The Board, however, continues to expect all bank holding companies and their affiliates to conduct their subprime lending operations without any abusive lending practices. See, e.g. Royal Bank of Canada, 88 Federal Reserve Bulletin 385, 388 n. 18 (2002).�
When the Fed finally (has to) consider the 2004 data, it will find at Wells Fargo nothing but abusive lending practices...
Update of June 20, 2005: On June 16, both the Office of the Comptroller of the Currency and the Clearing House, a trade association of large banks, sued the New York Attorney General, seeking an injunction against investigation of disparities in the subprime lending of Wells Fargo and others...
Update of June 6, 2005: The Wall Street Journal of June 1 reported on Wells Fargo lowering fees -- but only for some customers, in seeming contradiction of the CRA, both letter and spirit: �In order to qualify for the lower costs, customers must have at least $25,000 in combined balances across deposit accounts they have at the bank, such as checking, savings accounts, certificates of deposits and individual retirement accounts, as well as any brokerage accounts. Credit-card balances, auto loans and as much as 10% of any mortgage balances with the bank are also included.� Hmm...
Update of May 31, 2005: Predatory lending is not limited to mortgages, and is also being exported, including by Wells Fargo. For example last week Furniture First, �a national buying group serving the retail home furnishings industry,� signed a contract to offer a private label credit card program through Wells Fargo Financial Retail Services. The press release specified: �Wells Fargo Financial Retail Services, headquartered in Des Moines, Iowa, specializes in providing private label and dual-line credit card programs to retailers in North America. Its parent is Wells Fargo Financial. Wells Fargo Financial, a unit of Wells Fargo & Company, is a $38 billion company providing consumer installment and home equity lending, automobile financing, consumer and private label credit cards and commercial services to consumers and businesses. The company has approximately 19,000 team members and operates in 48 U.S. states, the 10 provinces of Canada, the Caribbean, Latin American and the Pacific Rim.�
Update of May 23, 2005: ICP on May 20 submitted to the Florida Attorney General�s office an analysis of and demand for action on the glaring disparities in Wells Fargo�s 2004 mortgage lending in Florida:
Whites: 71,777 applications, leading to 10,071 denials (14.03% denied) and 50,226 originations; 2636 [or 5.25%] exceeded rate spread.
African Americans: 6694 applications, leading to 1922 denials (28.71% denied, 2.05 times higher than whites) and 3589 originations; 855 [or 23.82 percent] exceeded rate spread [4.54 times higher / more likely to be over rate spread than whites].
Latinos: 18,729 applications, leading to 2636 denials (20.71% denied, 1.48 times higher than whites) and 7754 originations; 378 [or 4.87 percent] exceeded rate spread [0.93 times �higher� / more likely to be over rate spread than whites].
The Florida AG�s office has confirmed receipt... For or with more information, contact us.
Update of May 16, 2005: This week we step back, temporarily, from drilling ever-deeper into the 2004 Home Mortgage Disclosure Act data. Because we�ve been asked about the Wells Fargo - America�s Servicing Company, we note that Fitch�s September 21, 2004, ratings press release states that �Wells Fargo's third-party servicing division, America's Servicing Company (ASC), services more than 184,000 loans totaling over $20 billion.�
Update of May 9, 2005: ICP Fair Finance Watch continues drilling deeper into the 2004 Home Mortgage Disclosure Act data. Following its petitioning last week of state attorneys general, ICP was asked to produce a study of disparities by gender as well as race. The results, being forwarded to those who requested them, are not pretty. Here�s Wells Fargo:
White men: 554,755 originations of which 36,012 (or 6.49%) were at rate spread
White women: 196,396 originations of which 21,514 (or 10.95%) exceeded the rate spread (1.69 times higher / more likely to be rate spread than white men)
African American men: 29,858 originations of which 6357 (or 21.29%) exceeded the rate spread (3.28 times higher / more likely to be rate spread than white men)
African American women: 25,278 originations of which 7067 (or 27.96%) exceeded the rate spread (4.31 times higher / more likely to be rate spread than white men)
Hispanic men: 55.126 originations of which 5763 (or 10.45%) exceeded the rate spread (1.61 times higher / more likely to be rate spread than white men)
Hispanic women: 19,276 originations of which 2843 (or 14.75%) exceeded the rate spread (2.27 times higher / more likely to be rate spread than white men)
ICP has provided this and other analysis to the regulators and state attorneys general, demanding investigation and action.
And here comes trouble: a building permit in Annapolis, Maryland for Wells Fargo Financial, at 167 Jennifer Road...
Update of May 2, 2005: At last week�s shareholders� meeting, faced with criticism of his involvement on the boards of three other companies (Cargill Inc., Target Corp., and Cisco Systems Inc.), Dick Kovacevich insisted that he gains insights into agriculture, retail, and technology from those companies, and that the insights benefit Wells. (Why then he doesn�t serve on the board of directors of a payday lender is unclear, since Wells proudly and defiantly wants to continue lending to them). When the shareholder suggested that the CEO was spreading himself too thin, Kovacevich quipped, "You sound like my wife." We could joke, but this is a family newspaper -- most of the time, at least. Wells Fargo�s disparate lending has now been raised to ICP/FFW to the attorneys general not only in New York but in dozens of other states. We�ll see.
Update of April 25, 2005: Inner City Press / Fair Finance Watch has reviewed, now for the New York City Metropolitan Statistical Area, the 2004 Home Mortgage Disclosure Act data of Wells Fargo, including the new information concerning which loans are subject to a rate spread (3% higher than comparable Treasuries on a first lien, and 5% on a subordinated lien), and has found the following:
Whites: 11,028 originations of which 218 (or 1.98%) were at rate spread
African Americans: 1756 originations of which 224 (or 12.76%) were at rate spread (6.44 times higher / more likely to be rate spread than whites)
Latinos: 1664 originations of which 74 (or 4.45%) at rate spread (2.25 times higher / more likely to be rate spread than whites).
The ICP Fair Finance Watch is on the case, for now analyzing Wells Fargo�s 2004 mortgage data in other markets.
Update of April 11, 2005: After first providing its 2004 Loan Application Register data in PDF format -- to prevent analysis, it seems clear -- Wells Fargo last week after complaints decided to provide it analyzable form. The results are not pretty: At Wells Fargo for home purchase loans, African Americans borrowers are 3.9 times more like to receive a rate spread loan that white borrowers. This is only slightly less disparate that Citigroup, at which African Americans borrowers are 4.34 times more like to receive a higher-cost rate spread home purchase loan that white borrowers. Meanwhile, Wells Fargo denies the applications of African Americans for home purchase loans 2.3 times more frequently than those of whites, nearly as disparate as Citigroup�s 2.6 to one denial rate ratio between African Americans and whites.
At Wells Fargo for all types of mortgage loans, African Americans are 3.19 times more like to receive a rate spread loan than white borrowers. As we�ve noted, Wells Fargo is also a major funder of payday lenders, including targeters of military personnel such as Armed Forces Loans, Inc.. ICP has raised this directly to Wells Fargo, and to the Federal Reserve on Wells� proposal to acquire First Community Capital Corp., which was announced back on September 2, was challenged by ICP on November 1, and which still remains pending, more than five months later. ICP has now put in a supplemental comment. Developing...
Update of April 4, 2005: This week it�s logistic. On February 28, ICP Fair Finance Watch made a formal request for Wells Fargo�s 2004 mortgage lending data; the data by regulation must be provided �by March 31 for a request received on or before March 1.� ICP�s request, directed to the signer of Wells Fargo�s previous responses to ICP�s regulatory comments, also inquired as a fair lending matter about Wells Fargo�s �safeguards, if any, for purchasing from, securitizing or serving as trustee for and otherwise assisting (including through warehouse lending) other subprime lenders, including payday lenders and car title lenders.�
Wells Fargo waited the full month, then on March 31 provided its data -- in PDF. In this format it cannot be cumulated and analyzed and Wells Fargo knows this. ICP wrote to Wells Fargo
�immediately -- including in the context of Wells Fargo�s pending application to acquire First Community, on which ICP is a timely commenter and wishes to supplementally comment on the 2004 data -- to bring this to your attention� and re-requesting that the data be �provided in a single .DAT file, allowing analysis of the entire conglomerate�s patterns at one time.�
ICP has also complained to the Federal Reserve. Click here
to view the first of ICP�s studies; Wells will be in a future study, watch this space.
Update of March 28, 2005: Among the range of Wells Fargo�s predatory practices is the stealth almost disavowed �America�s Servicing Company, on which we�ve previously reported. Among the week�s mail were these two, further on Wells� ASC:
Subj: ASC IS NORWEST
Date: 3/24/2005 8:28:54 PM Eastern Standard Time
From: [ ]
To: WellsWatch [at] innercitypress.org
I got a mortgage from Argent loan and sold to Ameriquest then to ASC which ended up as in CA. ASC do not have any license as dept. of corp and dept of real
state. Also my search about " http://www.ascservicing.com " I found out ASC are same as Norwest also sub for wells fargo and as 3/4/2005, ASC has some legal cases under National City Home Loan, HSBC Bank, Wells Fargo Home Mortgage, and more. ASC as "servicer" for all but do not have license in ca. or others too. I called more than 10 times and no one provide me any info all is secret only one person told me call BBB. What about government agency?
Yep - Federal Reserve, OCC, the states (send a cc to Inner City Press if you like).
Subj: America's Servicing Company
Date: 3/25/2005 4:09:00 PM Eastern Standard Time
From: [ ]
To: WellsWatch [at] innercitypress.com
In 2004 I built a home. I had a construction loan through a local bank. Permanent loan was then obtained through RBC Centura bank. This loan was sold to ACS.
Problems arose after ACS purchased loan. I was never notified that ACS had purchased loans. I continued to send my mortgage payment to RBC... RBC forwarded the installments to ACS for the first 60 days after they had sold loan to ACS. The installments RBC received from me after the 60 day time frame were returned to me with a letter stating they had sold loan to ACS in December of 2004 and had been forwarding my payments. The letter also advised the new mortgage company should contact me with account information etc.... I never received any notification that ACS had purchased the loan. I learned that I was in default and that I was placed in collections. I have Made repeated attempts to contact ACS to have this situation resolved to no avail....
Not only does this company not comply with fair lending and credit practices, they place accounts in collection without due course and process and without notification that they are the lender/mortgage company....
This has placed a burden on me as to impact to my credit standing and ability to obtain a mortgage with a reputable company. I am subjected to increased cost of payments, increased interest rates and will be forced to pay additional fees to obtain refinancing...
That�s Wells Fargo...
.
Update of February 28, 2005: We'll focus this week on three sides of Wells Fargo: stealth servicing, disparate treatment, and the push into subprime. Last week (below), we reported on complaints about America's Servicing Company, including a request to know who owns it. ICP went online
and read that �America's Servicing Company, better known as ASC, a division of a well-known and respected mortgage company, is the subservicing/contract servicing operation. Loans may be serviced under the name of the client or ASC.� Why say, �a well-known and respected mortgage company� without naming it? Further inquiry found that this apparently ashamed owner of ASC is none other than Wells Fargo.
Our noting this has given rise to more inquiries. For example:
Subj: ASC bka Wells Fargo
Date: 2/24/2005 1:06:56 PM Eastern Standard Time
From: [ ]
To: WellsWatch [at] innercitypress.org
I just recently stumbled across your web page while i was doing some research about America's Servicing Company.
I am really troubled about some practices and recently found out that they are the same as Wells Fargo. ASC is currently my mortgage lender but i was offered a small loan in the month of December from Wells Fargo which I accepted....and they never indicated that they are the same as ASC. I have been bombarded since then with phone calls from various offices of Wells Fargo (with all of my credit and personal info, I might add) offering to re-finance me with a 15 year lower interest rate (all financing and fees included i�m sure). They have mailed me information and are constantly calling. They asked me who I was currently with and I told them ASC. They never indicated that they were the same. When I filed my taxes, the tax preparer found that ASC and Wells Fargo had the same ID or tax number (meaning they are the same company?). I just spoke with the representative in the office of Wells Fargo and he said that he doesn't know who ASC is and they have no affiliation and not the same. He said that they are a publicly traded (what does that mean) company and have no affiliation with Wells Fargo.....needless to say, at this point i don't believe him.
When I went to the web site i typed in subsidiaries of ASC and guess what came up.....yep, Wells Fargo.
This is unfair and deceptive practices.
We agree... Another Wells Fargo complaint received last week:
Date: 2/24/2005 5:39:57 PM Eastern Standard Time
From: [ ]
To: WellsWatch [at] innercitypress.org
I am an Anglo massage therapist in Napa, CA...an area with a large Hispanic population. Our chiropractic office has two Anglo employees and three Hispanic employees. Yesterday, Dr. Brackett sent out Lupe, the Hispanic receptionist to cash a check at Wells Fargo for petty cash. Because she didn't have a bank account there, they charged Lupe $5 to cash the check and required two IDs, and a thumb print. When I have gone there to cash personal checks for my mother along with a business check for my pay, they have required $5 from me... but no extra ID and no thumb print. My mother's personal check for a much greater amount is never any problem.
So, this was my theory...Wells Fargo charges $5 to cash business checks here in Napa because they can get away with it. Of course I wasn't going pay $5 to cash my check so I just took it to my mother and she cashed it for me. But a migrant worker doesn't have the resources I do. So, the next day, Tara Booth, the Anglo office manager went in to cash another check to test my theory that Lupe Valasquez was discriminated against...and they not only didn't charge her the $5 but they didn't require any extra ID! I know it is tiny compared to lending practices discrimination...but it really makes us mad!
Us too (or, grammatical but stilted, �we as well�). And yet another:
Subj: Wells Fargo nightmare
Date: 2/24/2005 5:51:40 PM Eastern Standard Time
From: [ ]
To: WellsWatch [at] innercitypress.org
Below is my letter to Wells Fargo, I have had no resolution. I ended up signing at a 9.9% interest rate (I was leaving 5.5% on my construction loan) for no reason. My credit score is 636 when I view it�they claim it is 580 but won�t show it to me. I had no choice but to close as they kept me waiting until I was in a bind. They then made me sign two papers, both of which I was told if I did not sign, I could not get the loan... Please publish my story as it is a nightmare!
MY LETTER � No response yet
Wells Fargo Financial
Des Moines, IA 50309
To: Thomas Shippee, Alan Blenner, David Kvamme, Michael McCoy & Dennis Young
I am writing this letter out of total frustration so that you can see what is going on with your company at the local level.
I am a real estate agent in Mississippi. I have recently built a home and wanted to get permanent financing and pull my down payment back out. (I put down $33,000 on the home). I have several connections in Mortgage brokerage but I had recently heard that Wells Fargo was doing home mortgages in the prime market so I called the Jackson, Mississippi office, located on county line road. I was asked to come in. My husband and I went into the office and gave our information and had our credit checked. We were told that we could get a home mortgage for 6.5 %. This was one percent lower than the rate I currently had and I was told that because of my credit, I could never get the 5.5% again. They said that they only use Trans Union and my score with them was 580. My score has never been 580 with anyone. I told them that I checked with all three agencies and my lowest score was 625. They said that they figured it differently than I did. Is a FICO score not the way to figure it? I didn�t understand this but I told them that I would take the higher rate if I could pull out at least $20,000 ( My loan with the bank was for $206,000.) I was then told that if my home appraised for $250,000 or above, I could pull this money out and refinance the house at 6.5% on a three year ARM. I told them okay and waited. Two weeks later, after accumulating all of the paperwork, the appraisal came back at $265,000. I was then told that it did not appraise high enough for me to pull the cash out. I was told that they could refinance it but not pull the money out. Why, I asked would I refinance at one percent higher rate and not pull money out? I then inquired about a home equity loan or any type program where I could keep my original mortgage and just borrow against the equity. I was told �they didn�t do that anymore� and I would have to refinance the entire home. They offered me a rate of 7.25%. Ben (the Manager) told me that I should take the 7.25% and pull out 95% of the equity, pay down my debt which was the only reason for my low score. Then, he stated, my credit score would go up and he would refigure the loan based on the new credit score. This entire time, I had pulled my credit online and showed 628. Ben keeps insisting that their records showed my score at 580. I could not understand why he showed such a lower score. I asked him to run the credit again. This is a total of two times I authorized for my credit to be checked. After checking my credit, he said that it still showed 580 and that if I took the 7.25 % I could get up to 95% of the equity, pay down my debt and come in within 45 days and receive the new interest rate of 6.5. I asked for this in writing and was told that �I had his word and it was their policy not to put things in writing.� With time being lost (wasted) I told him to go ahead with the loan at 7.25% and then asked what the payment would be. His payment was very much higher than what I figured it should be which he explained by the APR. Even though the rate was 7.25, it seems the payment was figured on 7.9. Okay, I said, even though I have never heard of this I gave him the go ahead to submit the loan. I was told we should get approval that day. That was on a Friday. The following Friday, after many phone calls and many reassurances that everything was fine, I was called and told to come in and close, the loan was ready.
My husband and I made the one hour trip down to the loan office and sat down with a girl we have never met to close the loan. It turns out, the paperwork was done at 7.9% with $19,000 cash back and no other bills paid. I told her that this was not the loan we had agreed to and she stated that they would not do the loan we agreed to. I asked for Ben and was told he was headed out of town for the weekend. I then asked for a number of someone higher that I could call. I walked outside to make the call but since it was after 5:00, no one answered. I then went in and told the girl that because they kept me waiting for over a month, I was now in a bind to get the loan and would sign the papers because I had to have the money but I was going to go to an attorney afterwards. I was told that I couldn�t get the money for three days anyway. I had never heard this before and in over 100 loan closings that I had been to, I have never seen a customer wait three days until getting the money. I told her that I would sign and she then informed me that the loan had been cancelled. I said �how can you cancel the loan in 5 minutes.� She said she had. I asked for a copy of the paperwork and was told she had just shredded it. I then demanded that they get in touch with Ben. I waited around a half hour for Ben to return my call. He stated that they would not go over 85% at the interest rate of 7.9% and he was sorry he didn�t inform me of that earlier. He stated that I could go 90% with an interest rate of 8.9% (which is incredibility high to me when there is nothing on my credit that I see that should keep me from getting a decent loan). He said that they could do the 8.9% and then pay down the debt and I could come in and redo the loan within 45 days at no cost and my rate would be 7.9%. Everything is now over a point higher than I agreed to. It seems, every week that I wait, the percentage goes up another point. Now, I am in a bind, I have been lied to and played with for over a month. I have no choice but to take what he is offering but I want you to know that not only will I never refer anyone to you for a mortgage, I plan to take an ad out in the Clarion Ledger about this and also to post a letter on the Realtor Multiple listing web site in Jackson. I also plan to go to the attorney General regarding all the lies I was told. AND to top it all off, I check my credit again last night to try and justify the 580 you keep claiming to show. I got 627; it went down a point because you apparently have checked my credit 4 times in the last month, two of which were without my consent. To say that this has been disappointing is an understatement, it has been a nightmare. I will not let this die. To top it all off, he still will not give me something in writing that states the rate will go down later and he has made me wait so long that it�s to late to start over with another company. Is this the way you do business?
Yes, that is how Wells does business..
Update of February 21, 2005: A suspicious lack of candor: last week ICP received complaints about America's Servicing Company, including a request to know who owns it. ICP went online
and read that �America's Servicing Company, better known as ASC, a division of a well-known and respected mortgage company, is the subservicing/contract servicing operation. Loans may be serviced under the name of the client or ASC.� Why say, �a well-known and respected mortgage company� without naming it? Further inquiry finds that this apparently ashamed owner of ASC is none other than Wells Fargo. Now we understand...
Update of February 14, 2005: A Phoenix woman sued Wells Fargo & Co. in federal court on Feb. 9, alleging her former employer failed to pay overtime. The lawsuit seeks class-action status to represent thousands of current and former so-called ``business systems'' employees who produce automated versions of paper forms and perform other automation jobs. The suit was brought by Jasmin Gerlach, who worked in the bank's Phoenix office from 1995 to 2004. She claims she is entitled to being paid for past overtime work because she and others were wrongly classified as being exempt from overtime pay...
Update of January 31, 2005: Tales of Wells Fargo Financial�s non-mortgage predation, from PhillyNews last week: on Nov. 28, 2003, Ms. Ying Zhang bought two bedroom sets and a table for $4,800 at Raymour & Flanigan in Wilmington, Delaware. The lender was Wells Fargo Financial. Zhang �made monthly payments, as required, and a final payment on Nov. 24. But when Zhang looked back at the paperwork, something didn't add up: Her final payment had included nearly $900 in accumulated interest.... Zhang first called Wells Fargo Financial, which provided the financing for Zhang and other customers at the privately held furniture retailer. A Wells Fargo rep referred Zhang to the contract she signed, which indeed did say, "The no interest option ends on 11/07/2004." When Zhang protested that the offer was for a year, not 11 months. [After PhillyNews� inquiries,] Raymour & Flanigan spokesman Heather Ward called back to say that Wells Fargo would be sending Zhang a full refund of the interest she paid... Ward referred questions about financing to Wells Fargo. Bank spokesman Steve Carlson said the interest-free due date is disclosed on sales slips and monthly statements. Why does a �one year� offer ever come due less than a year later? Carlson couldn't say, but told me: �If we have erred, we do what is right for the customer.�� Yeah -- if they have a major metropolitan daily newspaper on their side. If not? Well, that�s where Wells Fargo Financial�s profits come from...
Update of January 24, 2005: Wells on the prowl -- in an interview earlier this month, CEO Dick Kovacevich said his competitors �are running out of gas, and either they merge with someone to get restarted or they sell to someone... We're seeing more opportunities to do deals at closer to financially attractive levels than before."
Update of January 18, 2005: Wells Fargo announced on January 10 its stake in Charlotte NC-based Viewpointe LLC, which archives more than 25 billion electronic check images a year. Given Wells Fargo's record in leaking (or having stolen) customers' private information, it�s questionable how good a fit this is...
Update of January 10, 2005: Rumors of a merger were swirling over the weekend: Wells Fargo eying Barclays (which is more publicly making moves on South Africa�s Absa Group Ltd). Well at least now the predatory lending is uniformly branded: on January 4 �Wells Fargo announced that its �Trans Canada Credit Corp. subsidiary has changed its name to Wells Fargo Financial Corporation Canada. Wells Fargo Financial, the consumer finance subsidiary of the financial services giant, acquired Trans Canada in November 1992 and operated it under that name until Jan. 1.� From Wells Fargo�s own press release: �One element of the name change project is creation of a new French logo and corporation name, Societe financiere Wells Fargo Canada, to be used in Quebec. It represents the first time a Wells Fargo entity has conducted business under a French name.� At least one that can be printed in a family newspaper...
Update of December 20, 2004: Little shifts in Wells Fargo�s subprime auto lending business: last week, Wells Fargo Financial announced it will sell its Florida-based Consumer Auto Receivables auto loan unit to fellow-subprimer CompuCredit (which is also now a payday lender, with the f/k/a First American Cash Advance, and side deals with Synovus). To be sure, Wells is still in subprime auto: �Officials said Wells Fargo Financial will remain one of the premier non-prime automobile lenders in North America through its Philadelphia-based Wells Fargo Financial Acceptance business unit. That unit, which has about 580,000 customers, has more than $8 billion in receivables.�
Update of December 6, 2004: ICP has timely challenged Wells Fargo�s Texas application. Last week, ICP received a partial copy of Wells Fargo�s November 29, 2004, submission (the �Letter�). The Letter at page 34 states that �Confidential Exhibit 9 (Question 6) contains a list of businesses with which Wells Fargo maintains a business relationship whose business operations may constitute subprime lending. This exhibit includes the [NAICS] code for these businesses, and the Wells Fargo lending group providing lending or services to each business.� This is an outrageous withholding, given that ICP and now Bloomberg News (see below) have identified many of the fringe financiers which Wells Fargo funds or otherwise enables. Additionally, the above quoted does NOT fully respond to FRB Question 6, which asks not only about subprime lenders, but also �providers of non-traditional financial services (such as check cashers, pawn shops, or rent-to-own businesses).� An additional response must be demanded and released, ICP has commented to the Fed...
Update of November 29, 2004: Hitting a new low, in last week�s Bloomberg News article about the funding of payday loans and lenders, Wells Fargo spokeswoman Susan Stanley-Jones spun: �Free and equal access to credit for any legitimate business that complies with all laws is a cornerstone of the free enterprise system.� This was in response to the showing, from ICP to Bloomberg and then on the wire, that Wells � has extended credit to Payday Inc. in Albuquerque, New Mexico; Payday Plus Inc. in North Dakota; and Payday Express Inc. in Omaha, Nebraska, among others, according to UCC filings.� Bloomberg -- unlike, we�re hoping, another major publication -- missed the Wells - Armed Forces Loans, Inc. connection. The big picture: Wells Fargo enables predatory lending, and is itself a predator...
Update of November 22, 2004: From the mail bag:
Subj: Wells Fargo complaint to add to website list
Date: 11/20/2004 9:17:28 AM Eastern Standard Time
From: [Name withheld at request]
To: WellsWatch [at] innercitypress.org
I, too, have been mislead by individuals at Wells Fargo. I had an increase in property taxes and had to seek other means of being able to afford my mortgage payment. I received a call from Wells Fargo within the same week of receiving an annual escrow statement from my previous banking institution. The coincidence was uncanny. I explained to her the reason I had to refinance was because the property taxes had been increased without my knowledge and I wanted to be able to have affordable payments. I was told that they would definitely be able to get us a reasonable rate with a lower monthly payment. We proceeded with the loan. The fact that sealed the deal was that we were informed that we could borrow the amount owed to our previous lender and in addition to this amount, we were told we could borrow enough money to cover fall of this year's property taxes and spring of next year as well. During the processing of the closing, communication began to break down, we were given different facts about the entire process left and right. The agent finally said that the loan had to be changed from a 30 yr. loan to a 15 yr. loan to get the amount of money that we wanted in order for the amount to be approved. The rate appeared to be reasonable based on the monthly payment, so we consented still under the impression that the property taxes owed had been figured into the closing amount. We recently received a letter from our previous lender stating that we had an overpayment. Through investigation we discovered that property taxes had not been paid and figured into our refinanced loan amount. When we called Wells Fargo to investigate this matter someone took our information and said they would get back to us. At this point, they knew we were very frustrated and misinformed by someone. We did not receive any phone call and in fact we had to track the agent down. She ignored our calls. When we spoke to her, she gave us the impression that this is the first she had heard about the situation and had to be informed all over again. Obviously, she did not care about our concerns or she would have called us and made it a priority to get back with us. She then informed us that based on our appraisal the amount which we had requested was denied because we didn't have enough equity. This is totally false because our home appraised for $5,000 more than the loan amount we were asking for. And at the time of closing, we were encouraged to borrow more money from them to consolidate other bills! Credit is not an issue here---because both my fianc� and I have excellent credit and we wish to keep it that way. Had we been informed that our Fall 04/Spring 05 taxes could not be factored into our loan amount we would have stayed with the previous lender. As it is now, we are having to come up with over $200 more a month to cover bills compared to what our financial situation would have been had we just stayed with the previous lender. The agent knew our concerns, knew our goals and she was only wanting to seal the deal. I am appalled by the incompetence of this agent and the blatant disregard that she had for our concerns and our financial well being. I feel that she purposefully withheld information from us in order to seal the deal. This was unethical. Had when been informed of the real facts we could have concluded that going with Wells Fargo was not in our best interest and we would not have proceeded with the loan. Now we are locked in with Wells Fargo for three years because if we withdraw from them and refinance with someone else within that timeframe, they can charge us $7,000. Please, I beg you to actively pursue your quest in holding Wells Fargo accountable for their actions. They are simply wolves in sheep's clothing!!!!! Sincerely, A Betrayed Customer
Update of November 15, 2004: Wells Fargo�s general counsel James Strother, with an opportunity to address Wells Fargo�s documented relationship with payday lenders including Armed Forces Loans, Inc., which directs its high-cost loans at active duty military personnel, has in a November 11 letter provided only boiler plate. �Wells Fargo and its affiliates have, on a transaction-by-transaction basis, acted as a lender or provider of credit facilities to unaffiliated entities engaged in consumer finance businesses which may including acting as a payday lender... Loan proceeds may or may not involve funding the actual lending operations of such entities...�. Targeting high-cost payday loans at soldiers? ICP has replied....
Update of November 8, 2004: While waiting for Wells Fargo�s response, in came Citigroup�s November 4 response to Inner City Press/Fair Finance Watch�s submission to the Federal Reserve and Office of the Comptroller of the Currency of Uniform Commercial Code filings by Citigroup and its proposed acquisition, First American Bank:
�ICP attaches certain records of [UCC] filings related to several Citigroup and FAB clients... As a practice, Citigroup and its bank subsidiaries do no engage in the business of funding check cashing or payday lending businesses. Citigroup�s account opening procedures and credit policies generally prohibit the opening of new accounts for businesses identified as check cashing operations. Citigroup does have a single active relationship with an armored car company that also includes a checking account to an affiliate in the check cashing business. This account predates the Citigroup procedures for check cashers, and Citigroup has been in the process of winding down the relationship pursuant to a gradual exit strategy.
�In addition, on occasion check cashing businesses have become customers in connection with Citigroup�s acquisition of other financial institutions. In such cases, Citigroup undertakes a post-acquisition review of these relationships and takes action to close or limit them, when appropriate. Citigroup makes changes to conform with its business practices as expeditiously as commercially reasonable, yet in a manner that does not unduly disrupt the operations of an existing client...�
While contesting some of the above, ICP has now submitted a second timely comment on Wells Fargo. ICP in its first comment put into the record the commitment by another of Wells Fargo�s peers, SunTrust, to no longer fund payday lending or car title lending companies. Now, as to Wells Fargo and check cashing companies, ICP has submitted some examples:
Arizona: ANYKIND CHECK CASHING CENTERS, INC.; 1 STOP CHECK CASHING $ PAYDAY & TITLE LOANS, LLC.
Florida: THE CHECK CASHING AND MONEY CENTER, INC.
Iowa: MIDWEST CHECK CASHING OF SIOUX CITY, L.C..
Minnesota: ACTION CHECK CASHING INC.
Nebraska: CASH CONNECTION CHECK CASHING, L.L.C..
New Jersey: DAK'S CHECK CASHING; NATIONAL CHECK CASHING INC..
New York: AVENUE CHECK CASHING CORP ; A V W CHECK CASHING CORP / BAY STREET CHECKING; FORTUNE CHECK CASHING; GRANITE CHECK CASHING SERVICE, INC.; HAR JOE CHECK CASHING CORP; HUNTS POINT CHECK CASHING; JAMAICA LEFFERTS CHECK CASHING; PENN STARRETT CHECK CASHING; PENINSULA CHECK CASHING; PRIMA CHECK CASHING; QUALITY CHECK CASHING; RIDGE CHECK CASHING CORP; RELIABLE CHECK CASHING CORP; RELIABLE CHECK CASHING CORP; RICHMOND HILL II CHECK CASHING; SAMARA'S CHECK CASHING CORP; SUBWAY CHECK CASHING; SUNRISE CHECK CASHING; TRIBORO CHECK CASHING; WILMAR CHECK CASHING CORPORATION; WINK CHECK CASHING CORP...
We�ll see...For or with more information, contact us
November 1, 2004: Inner City Press / Fair Finance Watch has just filed timely comments opposing Wells Fargo's proposed acquisitions:
November 1, 2004
Board of Governors of the Federal Reserve System
Attn: Chairman Alan Greenspan, Governors, Secretary Johnson
20th Street and Constitution Avenue, N.W.
Washington, DC 20551
Re: Timely comment opposing and requesting public hearings on Wells Fargo�s proposal to acquire First Community Capital Corporation and its affiliates
Dear Chairman Greenspan, Governors, Secretary Johnson, FRB:
On behalf of Inner City Press/Community on the Move and its members and affiliates, including the Fair Finance Watch (collectively, �ICP�), this is a timely comment opposing, requesting public hearings on the applications by Wells Fargo & Co. (along with its affiliates, �Wells�) to acquire First Community Capital Corporation, First Community Capital Corporation of Delaware, Inc., First Community Bank, N.A., First Community Bank San Antonio, N.A (along with their affiliates, �First Community� or �FC�).
ICP is opposed to Wells Fargo�s proposed acquisitions of under the Community Reinvestment Act, based on systemic lending disparities, including the targeting of protected classes with higher cost credit through Wells Fargo Financial, and, particularly, Wells Fargo�s enabling of high-cost payday lenders, car title lenders, rent-to-own and pawn shops and other predatory fringe financiers. Perhaps the worst, and the one on which ICP demands immediate action by the FRB (including because ICP provided documentary evidence of this outrage to both senior FRB staff and the chairman in July 2004) is Wells Fargo's funding of a payday lender whose focus is active duty military service-members: Armed Forces Loans, Inc., of 3824 South Jones, Las Vegas, Nevada. Beyond Armed Forces Loans, Inc., here�s another sample dirty dozen financed by Wells Fargo:
TITLE LOANS EXPRESS, INC. of 4295 SAN FELIPE, HOUSTON, TEXAS 77027, financed by WELLS FARGO BANK TEXAS, NATIONAL ASSOCIATION
HOUSTON AREA PAWN SYSTEMS, INC., financed by WELLS FARGO BANK TEXAS, NATIONAL ASSOCIATION
EZ PAWN HOLDINGS, INC., of 1901 CAPITAL PARKWAY, AUSTIN, TX 78746 (financed by Wells Fargo Bank, N.A., as recently as April 13, 2004, according to Uniform Commercial Code filings);
PAYDAY LOAN MANAGEMENT, INC. of 1901 CAPITAL PARKWAY, AUSTIN, TX 78746, financed by WELLS FARGO BANK TEXAS, NATIONAL ASSOCIATION
EXPRESS TITLE & PAYDAY LOANS, INC. of 1131 WARREN LANE, VERNON HILLS, ILLINOIS 60061, financed by WELLS FARGO BANK, N.A., according to an Illinois Uniform Commercial Code filing
ADVANCE AMERICA CASH ADVANCE CENTERS, headquartered as 135 NORTH CHURCH STREET, SPARTANBURG, SC 29306, multiply financed by Wells Fargo, including in 2004;
PAYDAY INC of 5021 INDIAN SCHOOL RD NE, ALBUQUERQUE, NM 87110
PAYDAY PLUS of 425 HILL AVENUE, GRAFTON, ND 58237, financed by WELLS FARGO BANK NORTH DAKOTA, NATIONAL ASSOC
AUTO PAWN, INC. of 7534 HICKMAN RD, DES MOINES, IA 50322, financed by WELLS FARGO BANK IOWA, N.A., according to Iowa UCC records;
PAYDAY LOANS III, L.L.C. in Idado, financed by WELLS FARGO BANK, N.A.
PAYDAY EXPRESS, of 4302 SOUTH 24TH STREET, OMAHA, NE 68107, financed by WELLS FARGO BANK NEBRASKA, NATIONAL ASSOCIATION
1 STOP CHECK CASHING $ PAYDAY & TITLE LOANS, LLC of 10555 E FIRESTONE BLVD, NORWALK, CA 90650, financed by WELLS FARGO BANK, NATIONAL ASSOCIATION, according to a May 6, 2004, Arizona UCC filing
MAC DIANE'S PAWN CENTER in Michigan;
and, again, ARMED FORCES LOANS INC. of 3824 S JONES STE G, LAS VEGAS, NV 89103, regarding which, see "Lending Scams Target Military," at http://usmilitary.about.com/cs/generalpay/a/loanscam.htm
Wells Fargo targets its higher-cost loans, through Wells Fargo Financial, at protected classes. Using Texas as an example, in 2003 in the Houston MSA, Wells Fargo Bank NA (CA) denied African Americans' refinance loan applications 2.34 times more frequently than whites, and denied Latinos� applications 2.20 times more frequently than whites. Significantly, Wells Fargo Bank made 2716 refinance loans to whites, and only 161 to African Americans -- 16.9 loans to whites for each loan to an African American, for Wells Fargo�s prime-rate lender. Meanwhile in this MSA, Wells� subprime lender Wells Fargo Financial Texas, Inc. made only 1.33 loans to whites for each loan to an African American. In the Houston MSA, Wells Fargo targets its high-cost loans 12.7 times more frequently at African Americans than whites (henceforth, the "targeting index").
In the Dallas MSA in 2003, Wells Fargo Bank NA (CA) made 1429 refinance loans to whites, and only 53 to African Americans -- 27 loans to whites for each loan to an African American, for Wells Fargo's prime-rate lender. Meanwhile in this MSA, Wells' subprime lender Wells Fargo Financial Texas, Inc. made 108 higher-cost refinance loans to African Americans, and 252 to whites -- 2.3 loans to whites for each loan to an African American household. Wells Fargo targets its high-cost loans in Dallas 11.7 times more frequently at African Americans than whites.
Wells Fargo�s targeting index, similarly calculated, is 6.81 in Austin, Texas; 3.42 in El Paso, and a whopping 17.2 in San Antonio. Wells Fargo also funds and enables payday and car title lenders and pawnshops in Texas. Wells Fargo�s applications to expand, particularly but not only in Texas, should be denied.
Wells Fargo's targeting of protected classes with higher-cost subprime loans from Wells Fargo Financial is nationwide. In the Los Angeles MSA in 2003, Wells Fargo Bank NA (CA) made 1116 refinance loans to whites, and only 121 to African Americans -- 9.2 loans to whites for each loan to an African American, for Wells Fargo's prime-rate lender. Meanwhile in this MSA, Wells' subprime lender, Wells Fargo Financial California, made 95 higher-cost refinance loans to African Americans, and 161 to whites -- 1.7 loans to whites for each loan to an African American household. Wells Fargo targets its high-cost loans in Los Angeles 5.41 times more frequently at African Americans than whites. Finally, for now, in its headquarters MSA of San Francisco, Wells Fargo targets its high-cost loans in Los Angeles five times more frequently at African Americans than whites.
It is time for the FRB to inquire closely into disparities and discrepancies in Wells Fargo�s subprime lending including beyond the continental United States. As simply one example, Wells Fargo has stated
"Island Finance does not have a specialized customer service department or a toll-free telephone number for complaints. Customers who have complaints contact the store handling their account. If the store is unable to resolve the complaint the complaint if referred to the district manager. If the district manager is unable to resolve the complaint it is referred [to] the district manager's supervisor."[FN]
That Puerto Rico-based Island Finance has even less consumer protection safeguards that Wells Fargo Financial's overall operations is significant -- and, ICP contends, is violative of the Fair Housing Act and Equal Credit Opportunity Act, given the demographics of Island Finance's headquarters and its lending operations.
Here are some sample consumer abuse by Wells Fargo in the U.S., based on messages directed to ICP:
Subj: Wells Fargo Problem
Date: 10/8/03 4:14:37 AM Eastern Daylight Time
From: [Name Withheld]
To: WellsWatch [at] innercitypress.org
I am extremely impressed with your understanding and explanation of what is going on with the banks and the regulatory institutions in this country. Hopefully your editorials reach enough people who care whom will stand up and fight against these fraudsters. Unfortunately, the white collar crime is roaring ahead at the speed of the internet as banks like Wells Fargo Bank, NA (securities vehicle) parade around disguised as a real bank with insurance for your accounts.
I am at the beginning of an arbitration suit with Wells Fargo Bank, NA here in Nevada. The case stems back to February 1997 originally created by a loan officer @ 145 West Portal Branch for Wells Fargo Bank. The bank officer added a third page to a completed two page application for a $100,000.00 business line of credit for overdraft and cash flow need for my construction company. She added a third page to the application which the bank tells me created a MasterCard account that had an additional $100,000.00 line attached to it. When I increased my line to $200,000.00 in December 1997, ten months later, the MasterCard was not closed out. On March 9, 1998, a $97,000.00 debit posts to my credit line, deposits in to my business checking account, and debits the checking account the same day referencing "Bank Originated Entry". The saga continues unabated and has grown horns over the last five years. I believe that a majority of the problems may stem from my citizenship papers. I was born in St. Johns, Newfoundland on Peppermill Air Force Base to American parents. My father has a FS-240 (Report of Birth for Children Born Abroad to American Parents) form filled out by the Consul in Newfoundland. The only problem is, the Birth of Child Certificate Number on the FS-240 doesn't reference my Birth Certificate but another Report of Birth which I can only assume is another child. On June 1, 1966, I am issued Naturalization/Citizenship papers at Luke Air Force Base in Arizona where my father is stationed at the time. These papers certify that I am a Citizen of the United States but what about the child referred to in the FS-240. Another interesting note is at the bottom of the FS-240 it states:
Service No. 736
Tariff 13a
This is clearly some type of trading reference which is created by the Consul Huston Dixon in April 1958. 45 years later coupled with the speed of the internet, this vehicle appears to have become a major trade vehicle between Canada and the US which passes through undetected through a Federal Reserve Account held in a Custodial Trust Account for a Minor I have been researching fraud on my accounts with Wells Fargo with little of no cooperation from the Bank. I also was unable to get my attorney's to file a motion against the bank. I finally released my counsel and filed a ten million arbitration suit against the bank on my own. Hopefully the truth will matter and I will be reimbursed for all of the fraudulent transactions on my accounts over the years.
Do you know whom American Securities Company of Nevada is? They are trustees in the State of Nevada for Wells Fargo Bank, NA and Wells Fargo Home Mortgage Inc. The are right in the middle of all the non-judicial foreclosures as they help facilitate the exchange of Deeds of Trust registering them with MERS. What a mess. I am not sure if no one really cares or is it too complicated for the public to understand. The white collar criminals have really cooked up a dozy with this pyramid scheme. Arbitrating with themselves as Wells Fargo now owns and insurance company that pays the claims which are passed down through the stock price of the bank securities offerings all the while, paying themselves, AGAIN.
Anyway, thank you for your time...
More needs to be (and will be) said -- including about Wells Fargo�s still-entirely-unreformed subprime lending beyond the continental United States -- but ICP will await copies of the FRB's correspondence with and about Wells Fargo and First Community, and the banks' responses. Specifically, based on prior FRS precedents, at a minimum the following question(s) should be asked, and publicly answered:
"For any business relationship (e.g. commercial lender, warehouse lender, purchaser, custodian, etc.) that Wells Fargo or First Community or any of their affiliates have with any subprime lenders (including providers of non-traditional banking products, such as check cashers, title lenders, pawn shops, or rent-to-own businesses): (i) identify the relevant business parties and (ii) describe the nature of the business relationships... Additionally, to the extent not otherwise covered in your responses to the comments of the Inner City Press Community on the Move & Fair Finance Watch, describe any due diligence that Wells Fargo or First Community typically conducts concerning any such subprime lender's compliance with applicable fair lending and consumer protection laws prior to entering into these business relationships, including... (c ) any monitoring or other ongoing procedures Wells Fargo or First Community has adopted to access compliance with these laws. Provide a copy of such procedures that are used to determine whether third party originators are engaged in, or facilitating, abusive and/or predatory lending practices." [FN: Also incorporated herein by reference and to be made part of the record, for obvious reasons, is the July 12, 2004, submission of SunTrust Banks, Inc., on these issues.
The answers to these questions should be made public, as argued in the FOIA appeal and complaint filed by ICP in connection with Wachovia - SouthTrust (the FRB was served with the complaint on October 25, 2004).
Communications regarding these proceedings, including Wells Fargo�s responses, any and all FRB communications with Wells Fargo, and the improperly withheld portions of the Applications, should be provided to the undersigned.
Respectfully submitted,
0001224458 ABFC MORTGAGE LOAN ASSET BACKED CERT SERIES 2003-WF1 MD
SIC: 6189 - Asset-Backed Securities
0001201861 ABFC MORTGAGE LOAN ASSET BACKED CERTIFICATES SERIES 2002 WF2 NC
SIC: 6189 - Asset-Backed Securities
0001169498 ABFC MORTGAGE LOAN ASSET-BACKED CERTIFICATES SERIES 2002-WF1 NC
0001170159 ABFC MORTGAGE LOAN ASSET-BACKED CERTIFICATES SERIES 2002-WF1 NC
ABFC is Asset Backed Funding Corporation, 100% owned by Bank of America... In corporate welfare follow-up news, for Wells Fargo Financial's planned nine-story building in downtown Des Moines (north side of Walnut Street between Eighth and Ninth streets), "[t][he city is prepared to put up more than $10 million in assistance over 20 years." That's a lot of money, to host a predatory lender...
Update of November 17, 2003: talk about grassroots -- in Greensboro, NC, Wells Fargo Financial will open another predatory -- oops! subprime -- lending office, in the "Granite's Shoppes at Wendover Village." Yuck. Meanwhile, state-by-state action on predatory lending, including Wells', is addressed in this new ICP map, which may be of use during the BofA-Fleet process -- click here to view and use.
Update of November 10, 2003: Discrimination by Wells Fargo Financial is not only by race, ethnicity and gender -- on Nov. 3, the EEOC announced a settlement in an age-discrimination lawsuit against Wells Fargo Financial Texas. After EEOC-initiated mediation failed, the federal agency filed a lawsuit in U.S. District Court for the Western District of Texas, San Antonio Division, in June...
Update of November 3, 2003: Barron's of November 3 lists, as possible Wells Fargo targets, the following three banks: Suntrust, Bank One, and PNC. Regarding this last, see ICP's Bank Beat report....
Update of October 27, 2003: Wells Fargo's earnings announcement last week included this: that revenue at its subprime (and, separately, predatory) unit Wells Fargo Financial rose by 20% compared to the 3rd quarter of 2002; operating profit was up 32% to $121 million. Gouging is profitable...
Update of October 20, 2003: in the Federal Reserve's Wells Fargo Orders last week, the Fed acknowledges disparities in Wells Fargo's lending to African Americans and Latinos - higher than aggregate denial rate disparities, and low penetration rates in "minority" census tracts. Order at 15. But the Order dodges the fee-gouging issues (note 18), and, in dealing with WFF and Island Finance, expects the commenters to show the full range of interest rates (rather than having asked Wells Fargo for that information). So we'll be pursuing it...
Update of October 13, 2003: at the Consumer Banker Association's Fair Lending Conference, the associate general counsel of Wells Fargo Home Mortgage, Heidi Mason, pontificated that "If you don't proactively manage relationships, you will be liable, especially in the court of public opinion." Mason said there are "checklists available all over the place" that detail red flags, such as litigation and complaints filed against a company. "Make sure you have fair lending policies and add these to your agreements with third parties... Controls and monitoring are important, too," Mason said, noting that lenders should establish policies governing maximum broker compensation and loan origination fees, total fees and the types of fees that can be charged. All very nice sounding -- but not consistent with the policies of Wells Fargo Financial, not in the U.S. and even less so overseas...
Update of October 6, 2003: we'll be back on the Wells - corporate welfare beat -- but last week, we obtained via a Freedom of Information Act request summaries of some complaints against Wells Fargo Financial (in the below, the "Company," with addresses including Des Moines, Edina MN, Sioux Falls SD, including:
- "company calls and harasses consumer at work and consumer has asked company to stop calling them at work;"
- "Consumer received payment notices for an account he knows nothing about;"
- "Consumer sent the company a check to pay off their loan and close the account. Company did not close the account;"
- "Consumer co-signed on a vehicle and the company repossessed it without written notice, while consumer was current on payments;"
- "Company tried to convince consumer to take out another loan and she said no. Consumer says the company deposited money in her account anyway;"
- "Consumer took out a loan with the company and used her vehicle as collateral and gave the company the title to her vehicle. Consumer has paid off the loan but the company is given her the runaround on returning her title;" etc..
What's striking in all this is how the predatory problems at Wells Fargo go well beyond mortgages (and, as detailed below on this page, beyond the United States)....
Update of September 29, 2003: More on Wells and corporate welfare -- and, this time, the Federal Home Loan Bank System providing property to a predatory lender. It was reported on September 22, "the Federal Home Loan Bank of Des Moines said it may consider selling another piece of property in the same block [of downtown Des Moines] to Wells Fargo." Wells is "looking at possible locations for expanding its nationwide consumer finance unit, which has headquarters in downtown Des Moines." Wells has lined it up to "receive about $20 million in incentives from state agencies if it builds in the Des Moines area. The company is seeking an additional $25 million in incentives from West Des Moines, mostly in the form of the city paying for extending streets, water lines and sewer lines to a new office complex. Officials have said that if Wells Fargo Financial expands in downtown, Des Moines would be expected to provide additional incentives, probably in the form of employee parking." (Predatory lenders need parking, mind you -- but from the Federal Home Loan Bank System?) "The downtown property acquired last week is directly across Walnut Street from the $90 million addition completed last year at Wells Fargo Financial's headquarters... The 91-year-old building, called the Davidson Building, houses Schaffer's Bridal & Formal Shop and a handful of small businesses. The building is assessed for tax purposes at $524,500. A parking lot owned by Federal Home Loan Bank is immediately west of the Davidson Building... Nicky Schissel, a spokeswoman for the [FHLBDM], said 'there have been conversations with the city' about turning the bank property between Eighth and Ninth streets over to Wells Fargo for development." Well(s), developing...
Update of September 22, 2003: Wells Fargo and corporate welfare: by threatening to leave to an unnamed state, Wells managed to corral over 40% of Iowa's statewide Department of Transportation's RISE grant allotment. RISE stands for Revitalize Iowa's Sound Economy, but it sounds like it's Wells' economy that's being revitalized. The money would be used to pay for a new section of 74th Street and improvements to Grand Avenue that will provide access to the proposed new Wells Fargo campus south of I-80 and west of I-35. The project has a total cost of $13.8 million, the remaining $3.9 million of which would be provided by the city through the issuance of tax increment financing (TIF) bonds. Wells claims that another state is "competing" to gets a new Wells Fargo Financial back office... Wells shakes down municipalities like WFF shakes down customers, it seems...
Update of September 15, 2003: speaking late at the Lehman Brothers financial industry shin-dig September 8, Dick Kovacevic sang a song of Wells Fargo Financial:
Wells Fargo Financial -- our consumer finance company -- was the crowned jewel of Norwest in the 80's and early 90's. Their growth slowed in the 90's and earning fell in 1997 and 1998 because of a planned pull back in their business due primarily to irrational competition. A new management team and focus in late 1999 began a turn around for the company... In the past, Financial focused too much on their higher ROI unsecured lending business, and gave up growth opportunities in the lower ROI, but faster growing real estate and auto secured (ph) lending segment... Our focus is selling all the financial products our customer needs or cross selling... For consumer households that we sell them two products we make on average of about $200 a year. If we sell that same customer nine or more products we make $872 a year... Part of our effort is simply getting existing Wells Fargo customers to buy from us what they're already buying from other providers.
Yeah-- like loan sharks.
Update of September 8, 2003: In a September 4 response to additional Federal Reserve questions, Wells Fargo among other things prevaricated thus: "Wells Fargo Financial "does not classify credit as prime or subprime as a factor in setting APRs. However, the vast majority of WFF's real estate loans are to customers who would typically be characterized by others as subprime." Wells then describes providing some of WFF's customers with the phone number of Wells Fargo Home Mortgage -- but claims those cold referrals are based on the product requests (i.e., no cash out), not on credit score. So the obvious next question: does WFF offer a prime product? Or, to deal with Wells evasion, does WFF offer a product which "would typically be characterized by others as subprime"?
Squib of September 1, 2003: Ah, Wells... On August 26, Wells vaguely announced, without specifics, a proposal to acquire Benson Associates LLC, a institutional money manager with $1.3 billion of equity assets under management for "undisclosed terms."
Update of August 25, 2003: No response yet from the Federal Reserve on the Freedom of Information Act appeal for what Wells Fargo is trying to withhold. In the interim, we've noticed yet another way in which Wells' "Island Finance" has even weaker compliance programs than Wells Fargo Financial. In response to a Fed question for subprime lending volume data by product, Wells Fargo has stated that "[b]ecause Island does not track volume along product lines these numbers are not broken down in that fashion." This statement is not made for Wells Fargo Financial...
Update of August 18, 2003: the Federal Reserve has asked Wells Fargo a number of questions about its community reinvestment and fair lending performance, particularly about its subprime lending operations. On July 21 and July 25, ICP raised issues to the Fed concerning a particularly Wells subprime subsidiary, based in Puerto Rico and active within and outside of the United States, named Island Finance. On July 31, the Fed asked Wells seventeen questions, including "[d]escribe in detail Wells Fargo's corporate programs to monitor compliance with the fair lending and consumer protection laws and regulations... Include in your response a description of any policies, procedures, and practices with respect to... complaints," by subsidiary.
In its August 11 response, Wells states that "Island Finance does not have a specialized customer service department or a toll-free telephone number for complaints. Customers who have complaints contact the store handling their account. If the store is unable to resolve the complaint the complaint if referred to the district manager. If the district manager is unable to resolve the complaint it is referred [to] the district manager's supervisor."
That Island Finance has even less consumer protection safeguards that Wells Fargo Financial's overall operations is significant -- and potentially violative of the Fair Housing Act and Equal Credit Opportunity Act, given the demographics of Island Finance's headquarters and its lending operations. ICP has now raised this to the Fed. Wells has also requested "confidential treatment" for large portions of its response, which ICP has now re-requested under the Freedom of Information Act. Developing...
Update of August 11, 2003: Wells Fargo is becoming used to getting kicked around, being confronted with detailed tales of predatory lending... So, in its August 7 response to the Federal Reserve to ICP's comments, Wells summarized that "ICP references... customer examples," and then states:
"It is Wells Fargo's policy to deal directly with customers on any issues that may arise in their relationship with us. We have a long-standing policy and process for responding to customers who have complaints. We research those complaints carefully and as promptly as possible and if we have erred, we do what is right for the customer. Due to financial privacy concerns, we cannot and do not discuss our customers' financial matters with nonparties to the transactions."
Which is a fancy way of saying, "We're not going to answer, nya nya, nya"...
Update of August 4, 2003: Here's been Wells Fargo's response, to date: a Wells spokesperson named Christie Drumm said (in a monotone, presumably) that "the allegations are without merit" (that's from the Rocky Mountain News ); to the L.A. Times, an unnamed Wells spokesman was even more evasive, pointing to Wells' banks' CRA ratings when a main issue is Wells' non-bank finance company. The LA Times reported (correctly) that "Inner City Press maintained, Wells Fargo is 'exporting these practices' to the Caribbean through Island Finance, a Puerto Rican consumer-finance lender it owns." Wells' outgoing general counsel Stanley Stroup mailed in a letter purporting to respond to the issues ICP has raised -- but it limited itself, for now, to ICP's initial letter which asked for an extension of the comment period. And Wells' response on the predatory lending issues, including those beyond the continental 48 states?
ICP's July 25, 2003 comment:
July 25, 2003
Board of Governors of the Federal Reserve System
Attn: Chairman Alan Greenspan, Governors, Secretary Johnson
20th Street and Constitution Avenue, N.W.
Washington, DC 20551
Re: The applications of Wells Fargo & Co. to acquire (1) Pacific Northwest Bancorp & Pacific Northwest Bank, Seattle, Washington AND (2) Two Rivers Corp. & Bank of Grand Junction, Grand Junction, Colorado
Dear Chairman Greenspan, Governors, Secretary Johnson, et al.:
On behalf of Inner City Press/Community on the Move and its members and affiliates, and the Fair Finance Watch (collectively, "ICP"), this is a second timely comment in opposition to the applications of Wells Fargo & Co. and its affiliates ("Wells Fargo") to acquire Two Rivers Corp. & Bank of Grand Junction, Grand Junction, Colorado ("Two Rivers"), and Pacific Northwest Bancorp & Pacific Northwest Bank, Seattle, Washington ("Pacific Northwest"). ICP initially commented on both applications on July 21, and asked for an extension of the Two Rivers comment period; on July 22, ICP received phone message from Board staff extending the Two Rivers comment period until July 25.
Beyond the 2001 Home Mortgage Disclosure Act ("HMDA") analysis, citations to the public record on Wells' ties to payday lenders, etc., in the July 21 comment, and while continuing to await the FRB's too-slow release of the 2002 HMDA data, this submission directs the FRB to certain of Wells Fargo's subprime-lending affiliates, particularly those operating standardlessly outside of the continental United States, in Canada, Panama and elsewhere. First, a sample consumer abuse by Wells Fargo in the U.S., based on messages directed to ICP, and documents annexed hereto:
In a message dated 5/28/03 10:07:14 PM Eastern Daylight Time, [ ] @bellsouth.net writes: [to ICP's Wells Watch]
Hello,
Are you aware of anyone having problems with Wells Fargo giving false information to credit bureaus. I have had them for two years now, have never had a late payment and yet they are reporting that I have 8 late payments (4 of which are 90 day lates) I have been trying since the first of January to fix this and I am getting nowhere....
Then:
In a message dated 7/22/03 6:56:44 PM Eastern Daylight Time, [ ] @bellsouth.net writes:
...They say because I am in bankruptcy that they have to report it in a special way, that they are not reporting me late at all but the credit report has lates all over it. I have had a perfect payment history for two years and yet I am now refinancing at higher rate because they have all of those lates on my report. Every time I get it corrected with the bureaus I have to wait a couple of months but I just get more new lates from Wells. They have sent me a payment history showing I have not had any lates but again by the time I get that to the bureaus I have new lates on my report. I will see what I can fax...
And see attached, which we are asking the FRS to act on. See also,
Subj: Wells Fargo Bank
CC: Inner City Press
And see attached, which we are asking the FRS to act on.
ICP first became aware of Wells Fargo's subprime lender Island Finance in 1997, when the company (1) opened an office at 2866 Third Avenue in the South Bronx which charged 25% interest rates to all customers, without regard to credit history, then (2) closed the office and required the customers they'd lured to travel to a Wells Fargo Financial office in Queens or have "lates" imposed on their credit history (see supra, and see Village Voice of July 15, 1997).
Wells' Island Finance is (sub-) headquartered in San Juan, Puerto Rico, and has branches in Panama, Aruba, the U.S. Virgin Islands, and the Netherlands Antilles. It is a high-rate lender, and is also embroiled in litigation with its employees. See, e.g., Jagroop v. Island Fin. V.I., Inc., (U.S. District Court for the District of the Virgin Island, Division of St. Croix), 240 F. Supp. 2d 370; 2002 U.S. Dist. LEXIS 25153. Tellingly, Wells CEO Dick Kovacevich lobbied in person in May 2002 against a proposal in the Puerto Rican legislature, House Bill 1288, to impose a usury cap of 19.75%. See, Caribbean Business, May 16, 2002, quoting 27% interest rates and Kovacevich that, with the proposed rate cap, " I feel I�m being told Wells Fargo is not welcome in Puerto Rico... I don�t want to be threatening, just factual," and characterizing Wells as the U.S.'s "number one 'NAFTA bank,' with more banking stores and assets than any competitor within 60 miles of Mexico and Canada." (As to Wells' high-rate lending in Canada, see infra). As Wells / Island showed in The Bronx, they charge rates right up to any applicable usury cap, without regard for the borrowers credit history profile -- that is, NOT pricing by risk.
In acquiring Island Finance, Kovacevich said that it portended further "expansion into other Latin American markets." (PR Newswire of May 4, 1995.) Subsequently, Wells also acquired a consumer finance company in Argentina, Finvercon S.A. Compania Financiera , which resulted in litigation: see, 86 F. Supp. 2d 212. At the time, Wells stated that one-quarter of its WFF consumer finance stores "is outside the 50 U.S. states," noting that it had recently also "acquired Reliable Financial Services, Inc., an auto finance company headquartered in Rio Piedras, Puerto Rico, which manages $200 million in receivables." (PR Newswire of January 12, 1998.) Wells also lists "Island Finance" subsidiaries in the Cayman Islands, British West Indies, and in Trinidad and Tobago, and operates under the name "Financiera el Sol" in Panama. [FN: It also appears that Wells / Island operate as "Credisol" in Costa Rica. While WFC's 2000 10-K lists, for WFF, offices in Brazil, Hong Kong and Taiwan, there's no further mention of these stealth, presumably high-rate consumer finance operations.]
Wells Fargo is also engaged in controversial high-rate finance in Canada, under the brand name Trans Canada Credit. In New York, Wells' Island Finance charged 25% interest because that is the usury cap. In Canada, Wells' " Trans Canada Credit charges 28.9 per cent interest." See, Hamilton Spectator, June 26, 2003, Pg. C2, " Buy Now / Pay Later Plans Can Become Costly," recounting the following sample Wells loan:
The first thing Labatte did receive appeared to be a credit card statement, showing a limit of $4,150, a billing date of Jan. 23 and a due date of Feb. 23. It stated no minimum payment was owed. Two more monthly statements followed, but Labatte claimed no statements arrived in April or May. He and his spouse both worked and failed to notice the six-month deferment period had expired. By the time they started making inquiries, a representative of Trans Canada Credit informed them they'd missed the deadline for their "no-interest" offer and now owed approximately $600 in interest payments, dating back to the original date of purchase in November 2002.
In fact, Wells' Trans Canada Credit charges 30% interest annually -- but misleading consumers by quoting it monthly: "Having trouble managing your credit card debt? Perhaps I could interest you in a consolidation loan at a mere 2.5%. Sound good? Not if the rate is 2.5% per month, or a whopping 30% per annum. Yet with interest rates at a 41-year low, and prime sitting at 3.75%, I was surprised to find Trans Canada Credit pitching me such a loan recently as part of a mass mailing. To Trans Canada's credit (pardon the pun), they didn't trumpet a rate of 2.5% on their mailing. But when I phoned to get some idea of the interest rate, I was quoted 2.5% a month." See, Toronto Sun, January 20, 2002, Pg. 55, "A Costly House of Cards;" see also, Toronto Star, April 6, 2000, "High-Cost Payday Loans Prey on the Vulnerable."
Beyond Wells' enabling of payday lending in the United States -- see, e.g., Business Wire of June 11, 2002, in which the payday lender Dollar Financial Group announced an amendment to its credit agreement with Wells Fargo Bank, N.A. -- Wells owns (at least) the following insurance companies [string cite omitted] and Centurion Life Ins. Co. (MO) The last of these is described in A.M. Best's most recent company report as benefiting "from its parent's consumer lending business growth as it markets credit life and disability income products through nearly a thousand consumer finance offices of Wells Fargo." Wells in the U.S. also offers "single premium term life insurance," see, e.g., <http://financial.wellsfargo.com/consumer/insurance/index.html>. Also problematic is Wells' Aman Collection Service, see, e.g., Jackson v. Aman Collection Serv., 2001 U.S. Dist. LEXIS 22238, U.S. District Court of the Southern District of Indiana, Indianapolis Division (collection letter could not be said to not violate the Fair Debt Collections Practices Act, where it included only an unstated amount of accruing interest, and no date from which it accrued).
Wells' involvement in the subprime industry goes beyond its own lending, and encompasses its activities as master service, custodian and trustee (the latter two, mostly through Wells Fargo Bank Minneapolis). See, e.g., DLJ ABS Tr Mtg P-T Ctfs, Series 2000-3; DELTA FUNDING CORP HM EQ LN HEL SE 01 2 (Wells Fargo Bank Minnesota, National Association, custodian).
Wells was willing to serve as trustee for Delta even during the period for which it was charged with predatory lending by government agencies; the same has continued, more recently, in connection with the loans of Household International's HFC. See, e.g., the May 2, 2003, Prospectus filing for STRUCTURED ASSET INVESTMENT LOAN TRUST, Mortgage Pass-Through Certificates, Series 2003-BC3: loans by, inter alia, HFC, "Trustee: Wells Fargo Bank Minnesota, National Association." What standards for Wells Fargo have for this business? Apparently none.
We also remain concerned about the weak (and we contend weakening) performance of Wells Fargo HSBC Trade Bank. The most-recent (yet outdated) CRA performance evaluation stated inter alia that Wells Fargo HSBC Trade Bank "demonstrates no use of innovative or complex qualified investments and community development services" -- a bad sign for a bank with a wholesale designation, whose "performance under the CRA was limited to qualified investments and community development services." Id. In terms of weak performance beyond CRA, see, e.g., the San Diego Business Journal of December 2, 2002, "Former Peregrine Manager Admits to Bank Fraud," reporting that "[a]ccording to Cappel's plea, she arranged the sale of a $ 19.5 million invoice from KPMG Consulting LLC to Wells Fargo HSBC Trade Bank on or about June 29, 2001. Cappel sold the receivable to the bank as if it was valid when it really wasn't 'because Peregrine had no valid contract with KPMG Consulting LLC at the time for that amount under those terms,' the plea stated." Wells Fargo HSBC Trade Bank's lack of due diligence is another indictor of weak performance that should be inquired into in this proceeding.
ICP continues to await the release of the 2002 HMDA data. As noted, in 2001, in the Denver MSA Wells Fargo Home Mortgage denied the conventional home purchase loan applications of African Americans a whopping 5.95 times more frequently than those of whites, substantially more disparate than other lenders in this market. Additionally in Denver, WFHM denied the refinance loan applications of African Americans 3.81 times more frequently than those of whites.
In the Seattle WA MSA in 2001, Wells Fargo Home Mortgage denied the conventional home purchase loan applications of African Americans 5.55 times more frequently than those of whites, substantially more disparate than other lenders in this market. Additionally in Seattle, WFHM denied the refinance loan applications of African Americans 2.44 times more frequently than those of whites.
In light of the characterization of Wells as something of a "NAFTA bank," see supra, note that in 2001 in the Albuquerque, New Mexico MSA, Wells Fargo Home Mortgage denied the conventional home purchase loans applications of Latinos 2.82 times more frequently than those of whites. In the Austin, Texas MSA, Wells Fargo Home Mortgage denied the conventional home purchase loans applications of Latinos 3.50 times more frequently than those of whites (while also denying the applications of African Americans 2.71 times more frequently than whites). In the Houston MSA, Wells Fargo Home Mortgage denied the conventional home purchase loans applications of Latinos 3.01 times more frequently than those of whites (while also denying the applications of African Americans 3.84 times more frequently than whites).
These racial and ethnic disparities, and Wells' targeted high-rate lending, militate for public hearings, for enforcement actions and referrals, and for the denial of Wells Fargo's expansion proposals.
Communications regarding these proceedings, including Wells Fargo�s responses, any and all FRB communications with Wells Fargo, and the improperly withheld portions of the Applications, should be provided to the undersigned.
Respectfully submitted,
Fax: 718-716-3161
NOTE: For or with more information, contact us. This will be updated; stay tuned...
Update of May 26, 2003: On May 20, Wells Fargo announced a proposal to buy Pacific Northwest Bancorp for $591 million. Then on May 22, Wells announced a smaller deal for Colorado's Two Rivers Corp., which owns the Bank of Grand Junction. It operates three branches around Grand Junction... Also on May 20, Wells announced that its general counsel Stanley Stroup will retire at the end of 2003. He "was very instrumental behind the scenes in helping break down (Great) Depression-era barriers among banking, brokerage and insurance industries," said Chairman and Chief Executive Dick Kovacevich in a press statement. "He also helped influence national legislation that created interstate banking." Well now. Jim Strother, a Wells Fargo deputy general counsel since June 2001, will replace him...
Update of May 5, 2003: The California Department of Corporations on May 2 announced it has revoked Wells Fargo's state mortgage lending license, for violating California law. "If consumers were particularly savvy, they (should) see that Wells was advertising our license, and that they were obtaining the same protections from Wells as from any other licensed lender," said the Department's Andre Pineda. "The simple fact is, in the last couple of years, a consumer who thought that would be wrong." California wants Wells Fargo to issue refunds to overcharged borrowers.
Update of January 13, 2003: It has been too long, since we've reported on Wells Fargo in this space. The trigger of this report is the state of California's Jan. 10 accusation that Wells is a predatory pricer. We agree, and now report the following: at Wells Fargo Financial, the company's subprime lender, the lowest fixed interest rate being offered is 11.5% -- regardless of the credit score of the applicant. Ironically, even an applicant with a sub-600 FICO score can, through Wells Fargo Mortgage's "non-conforming" division, receive a rate between eight and nine percent. The morale of the story? If you approach Wells through the storefront office of Wells Fargo Financial, you will be overcharged in a predatory fashion. We've also learned that when Wells Fargo Financial employees leave the company, they are told that if at their next employer they refinance any Wells Fargo loans, they will be sued for $2,000 for each loan. Pretty, ain't it?
Update of October 28, 2002: on October 24, Wells Fargo announced a proposal to buy Minneapolis-based Towle Financial Services/Midwest Inc., a mortgage banking company that originates and services mortgages for life insurance firms, pension funds, real estate investment trusts and others. Towle holds a loan portfolio of $260 million, according to a Wells spokesperson. Wells already has a $30 billion servicing portfolio....
Update of August 5, 2002: on July 31, Wells Fargo announced a deal to acquire " private investment advisory firm" Nelson Capital Management; financial terms weren't disclosed.
Update of February 18, 2002: From the department of "better late that never," Inner City Press has just received a response from the Department of Justice to a FOIA request regarding the Federal Reserve Board enforcement (or non-enforcement) of antitrust laws upon Wells Fargo and its predecessor, Norwest. Among the documents received is correspondence in which Wells Fargo tries to justify having shifted deposits out of branches it had committed to divest. Wells claims that "if any procedural lapses did occur" they were "inadvertent and isolated." The Fed staffers who apparently agreed include Scott Alvarez, Dean Amel and Gordon Miller. Who knows -- maybe Wells' argument are not as ludicrous as they look. It's impossible to judge, since the most substantive portions of the letters are still redacted, and since the Fed itself never provided these letters to ICP or anyone else, despite outstanding FOIA requests. This may have to be revisited in a future proceeding. Until next time, for or with more information, contact us .
Update of February 4, 2002: Wells and woods: an SEC filing made public on January 28 disclosed that Wells Fargo has dropped its stake in Willamette Industries Inc. three percentage points to 9.4 percent. After a 14-month takeover battle, last week Willamette tentatively accepted a $6.1 billion acquisition offer from its larger rival Weyerhaeuser Co....
For 2000-2002, click here . This will be updated. For or with more information, contact us .
| Charlotte, North Carolina |
Born on March 6, 1475, which Italian Renaissance sculptor, painter, architect, and poet was responsible for works such as The Sistine Chapel ceiling, and the dome of St. Peters Bascilica? | How Five Banks Post Your Deposits and Withdrawals: Do They Trap You Into Overdraft Fees?
How Five Banks Post Your Deposits and Withdrawals: Do They Trap You Into Overdraft Fees?
Update: Bank of America settled a lawsuit for $410 million concerning this issue below.
In his documentary film Overdrawn!, Karney Hatch mentions that banks often post your deposits and withdrawals to your bank account in such a way that they maximize the possibility of overdrafts. Even if you believe you have a large enough balance to cover your withdrawals thanks to recent deposits, the banks have a way of calculating debits and credits that can result in multiple overdrafts in one day.
Here is how this works, supposedly. This is the scenario: you know that you have an automatic electronic withdrawal that will be executed today, perhaps to pay your mortgage or cable bill. You realize that you may not have the money in your account so you run to the bank and make a cash deposit to cover the withdrawal. Or perhaps you are aware of the impending withdrawal the day before, so you execute a transfer from one account to another online. In your scenario, the final withdrawal and deposit are executed on the same day.
According to experience with many banks, no matter what time your withdrawals and deposits are processed on any one day, the bank will apply your withdrawals first, from largest to smallest, then apply your deposits. So if you have $100 in your account at the beginning of the day, and you have instructions to pay your mortgage of $1,500, your cable bill of $75, a cash withdrawal at an ATM during the day for $80, a debit card purchase at the grocery store for $10, and a scheduled ACH transfer for $2,000, the bank will process your mortgage first, dropping your account below zero and incurring your first overdraft fee.
The bank will then reduce your balance by the amount of the cash withdrawal. Even though you’re already below zero the bank will charge you a second overdraft fee. Next, the bank will process your cable bill, resulting in the third overdraft fee. Your debit card purchase will be posted next, incurring an average fee of $30 for your $10 purchase. You’ve now been charged $120 in overdraft fees alone.
Finally, the bank will apply your deposit, bringing your account balance positive again.
This technique has been observed, and banks have even admitted to this practice. Yesterday, Consumerism Commentary reader Steve claimed that this is not the policy at Wachovia , nor is it the policy at most banks. So I called Wachovia, Wells Fargo, Citibank, Commerce Bank (TD Bank) and Chase to try to extract the official policies from the customer service representative or salesperson.
Here’s what I found, as of October 2008.
Wells Fargo
Wells Fargo’s policy is to always post ATM withdrawals first, regardless of the time the transaction took place. After ATM withdrawals are posted, deposits and other credits are posted from highest to lowest amount, and finally checks and other debits are posted from highest to lowest. Interestingly, if your starting balance is $0 and you walk into the bank at 9:00 am to make a cash deposit of $100 and at 2:00 pm withdraw $40 from the ATM, according to this policy you could incur an overdraft fee.
Citibank
I don’t have complete faith in the answer I received from Citibank. The representative I talked to did not understand my questions at first and put me on hold for a long time, presumably to find someone who might know the answer, but returned with an answer that still did not match my questions. Eventually, she told me that cash deposits and ATM withdrawals are posted at the time of the deposit, but ACH and check deposits are posted first. Check payments are posted after all other deposits. It sounds like you’re in the clear with Citibank.
Chase
Chase will post your transactions to your account at the end of the day. The bank starts with deposits and ends with withdrawals, both from largest amount to smallest. This policy would avoid overdraft fees as long as at the end of the day you’ve deposited enough to cover your withdrawals.
Commerce Bank (TD Bank)
Like Chase, Commerce Bank (now TD Bank) will post your deposits before your withdrawals. The policy is slightly different. Rather than processing your checks paid from largest amount to smallest, they are posted in the order of the check number, low to high. Commerce Bank assumes you want check number 1001 to pay before check number 1002.
The customer service representative at Commerce brought up an interesting point. First, keep in mind that there is a holding period when you deposit a check. The funds you deposit may not be available on the same day, even if the amount of the check is included in the balance listed online. Additionally, cash deposits have “next day availability,” so even cash deposits won’t be posted to your account until the next business day. Furthermore, on Friday, they consider it to be Monday, The one-business-day rule then stipulates that cash deposits on Friday won’t be available in your account for use until Tuesday!
Wachovia
Like Steve mentioned, the customer service representative at Wachovia explained the policy quite clearly. Wachovia will post your credits first, from highest to lowest amount, and will then post your debits, also from highest to lowest.
According to each bank’s representatives, the respective policies have been in existence as long as they could remember. I would like to contact more banks, like Bank of America, Bank of New York, Capital One, and PNC Bank to determine their policy as well. If I do, I will update this article.
It’s interesting that each bank has its own method of posting items to customers’ accounts. I think this is a practice that should be standardized across financial institutions, and it should be done in such a way that it benefits the banking customer: all overnight credits (ACH deposits, Direct Deposits, checks coming off hold, late ATM deposits) first followed all overnight debits (ACH withdrawals, electronic checks) from lowest to highest amount at the start of the day, then all real-time credits (cash deposits, ATM deposits during business hours) followed by all real-time debits (ATM withdrawals, bank teller withdrawals, debit card purchases) from lowest to highest amount at the end of the day.
Having never worked in a bank, I’m not sure if this policy is feasible, but it would be fair to the customer and reasonable to the bank.
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Updated August 19, 2016 and originally published October 28, 2008. If you enjoyed this article receive daily emails . Follow @ConsumerismComm on Twitter and visit our Facebook page for more updates.
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Luke Landes is the founder of Consumerism Commentary. He has been blogging and writing for the internet since 1995 and has been building online communities since 1991. Find out more about Luke Landes and follow him on Twitter . View all articles by Luke Landes .
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1 Anonymous
I’ve found WaMu to be pretty good about this. Even if i go to the ATM and make a deposit late at night it will be counted as actual cash available that day. A few times I’ve found something amiss in my records and had to do this and never have I had an overdraft fee because of it.
The account I use is a Platinum account so this info may not apply to every type of account (I don’t pay fees for a lot of things that a “free” account would). I don’t pay anything extra for my Platinum level account since my mortgage is considered part of my balance for the minimum calculation (yay).
2 Anonymous
Washington mutual ALWAYS puts our smallest withdrawals through on pay day then deposit my direct deposit after resulting in as many overdraft fees as possible. It happens every time. Wish there was a way to take them to court and get back half of what they take from me. I’d be wealthy.
3 Anonymous
Here is one technique that wasn’t mentioned. I have had this happen on checking and credit card accounts. You have a recurring draft on your account to pay for a service or bill. The bank sometimes charges the fee at the beginning of the month and then again towards the end of the month. When called, the explanation is that the bank posts the fee when the service requests payment and that the bank has no control over that. In the meantime, your account is overdrawn. Is this practice legal?
4 Anonymous
Maintain a cushion of $1,000 in your account. Should get fees waived and prevent overdrafts (which usually works out to be 10%+ roi). The cushion servers as your immediate backup cash.
5 Anonymous
Who the *** has an extra $1000????? I agree, the banks should all be standardized and post everything the same manner. If you deposit money to cover your checks for that business day, why should you incurr an over draft fee. Sometimes things happen outside of your control and if you transfer or deposit money to cover them, the bank has not lost money or taken a risk. The bank does not “pay” the items that are presented that day, they hold everything, so if by the end of business you’ve covered your transactions, why do they need to charge a fee?
6 Anonymous
No one has an extra $1000 lying around, but that’s only 10 months of setting aside $100. Here’s a better idea: watch your spending, set up bills such that they land a few days after your paycheck comes in, AND save cushion money. If you can’t save a little bit each month, you are living outside of your means and need to cut back. Some times that means eating rice and beans for a few months until you can figure something else out. It’s NOT hard, it just takes a little bit of willpower and thought. What if payroll screws up and your pay gets there a day late? Should the bank take care of that for you, too?
7 Anonymous
I suggest using Bluebird by AMEX. Not a real bank, but you can get checks, and a debit card(sort of) No cash back, but no overdraft fees.
8 Anonymous
Couldn’t agree more… Banks are thieves…. Its impossible to save an extra $1000 for a cushion if your bank is constantly feeing you to death…. I finally got a RushCard prepaid debit card…. I can never overdraft, it provides free electronic bill pay, and even mobile check deposits and direct deposit…. Finally I gained financial control and was able to stop the thieving banks from taking half my paycheck in bogus fees.
An update to this article: TD Bank just changed their policy, they’re now going to post in the order received, which means if something you forgot hits during the overnight, you’re already too late the next morning, and going to get charged a fee no matter what.
10 Anonymous
I think everyone should do this, if you cannot afford the 500 cash sitting in ur account, use a credit card and pay it off in full twice a month, if u have 0 dollars now it is easy to use the credit card to stop over draft fees. however if you do get an over draft fee i think you are living your life too much on the edge and therefore deserve punishment for not being wise. I really don’t care the way i look at it the wise people save money and buy companies, the un wise don’t save spend every dollar they make, pay over draft fees, and where does this money go ohh look it goes to the wise people. so if you don’t want to be a slave to the rich save a little and join them. saving $500 should not be a challenge, cancel your phone for 10 months, don’t buy the soda everyday for lunch, don’t eat out at restaurants, do like i did mix water and flour and microwave it it is not very tasty but it will fill u up and you don’t need to spend all your money. those who sacrifice will be rewarded, those who sacrifice will be rewarded by those who do not sacrifice.
12 Anonymous
I guess it would be wonderful if everyone had the same living-to-expenses ratio balance. We’d ALL be “WISE.” Right now, I’m working a full-time work day but only classified as part-time. I receive no health insurance, no vacation, no dental, drive an hour to and from work (on my “unwise” dollar) to keep a job and have loans (car and student) that I can’t escape on top of the county/city/state taxes that make “WISE” people WISER and the “UNWISE” more stupid, helpless and dependent on government guardianship.
I can’t afford to buy flour let alone nuke it into some gastrointestinal concrete to trick my digestive system into thinking I’m living WISELY. That just sounds like a means to become constipated.
These financing expenses that I incur weren’t considered frivolous after I graduated from High School, they were encouraged as career living expenses, how the heck else does one get to their part-time jobs without them. It is true one could work without a college degree but they are much more likely to be taken advantage of by WISE companies/employers and public transportation could get you to your office/factory if you happen to be paying an exorbent rent to a WISE landlord to live within the proximity of bus routes. Without a phone for 10-months, you woThe point of the matter is my WISE bank (and yours) is taking liberties with some loopholes regarding account fees and reorganization of transaction types. If a WISE individual reordered and tampered with their expenses to come out on top, they would be in suspect of fraud. How do our WISE banks rationalize this that protects them from proportionate consequences.
A bank certainly should not be at the liberty to claim it is offering free banking if you are required to keep a minimum balance of $1,000. I’ve spent over this in misc. bank charges/overdraft attack. It’s criminal for one to incur $105 of bank fees to cover a $15 transaction that posted half a week late.
20 Anonymous
My husband makes $30000 a year – which considering he is mildly autistic is excellent. I used to make the bulk of our income but am now totally disabled and still awaiting SS Disability approval. We have two children. The absolute ONLY luxury my husband and I pay for is high-speed (lowest-tier) internet access (which is actually more of a necessity since I have to take care of nearly all correspondence and finances this way because of my disability.) Are you telling me that we are unwise because we don’t have $500 cash sitting around?? We just had two months with unexpected car expenses totaling over $1000 and there went our emergency fund. How the heck are we supposed to have ANY savings when EVERY penny goes to absolute necessities and we STILL end up paying some bills late?? You are an arrogant jerk who evidently thinks everyone in the world should be JUST LIKE YOU. Don’t even try to lecture others about sacrifice!
21 Anonymous
Very well said! I make 32,000 a year and have a 3 year old son and have also recently gained guardianship of my 16 year old nephew. I have a mortgage, car payment, student loans, and minor debts, but every single dollar I make goes towards some sort of bill or payment, groceries, and gas – well fuel takes about a fourth of every check. I do not like being called unwise because I have been dealt a crappy hand. I work my tail off to provide for my son and nephew. I don’t consider myself unwise because I am unable to save money – money that I do not have to save in the first place! Shame on you!
22 Anonymous
“flour and water and microwave it” Thanks I’m really hungry and thought I was the only that was at this point of creativity……. Two and a half jobs, graduate school, 15 pounds lighter, i hope your right about those sacrifices.
23 Anonymous
No, actually the unwise are not going to make the wise rich, they are going to make the unscrupulous evil exploiters of the vulnerable, rich. as usual. Because these unethical leeches know all the tricks of the trade and thus are at an extreme advantage over most others. no matter how much it harms these unwary inexperienced uneducated people, the predatory hyenas of finance are always there to take huge bites out of them. They usually/ usuriously set everything up so they can rush in for the kill at the most vulnerable moment. These predators are toxic to society.
24 Anonymous
You are a fool. Some people make minimum wage and can’t even get a full time job no matter how hard they try. I take great offense to your ignorant and narcissistic comments. You sir are very, very unwise.
25 Anonymous
Who the HELL has an extra grand is right?!. BET you work for a bank!.
It;’s called “milking” for every fee possible when it used to be the bank paid US for the priveledge of us depositing our money with them, They made their money off lending it out. AND wise investments.
Somewhere we the public surrendered our “rights” to our OWN money.
We need to “cripple” one of these banks on a Friday by a massive, ole’ fashioned “run-on-the-bank”.
I nominate Bank of Amerika WHO gave hundreds of thousands of credit cards to ILLEGAL ALIENS (without SS numbers) and then wanted a bail out..
Some willy nillys will cry in horror that “a run on the bank is like shooting the Pope!”.
It’s your money. Go to the post office and use money orders.
I’ll say it again…’Without your and my money, banks don’t own the carpet on the floor or the paintings on the wall”!!!
We were a better nation when most banks were just like the one George Baily ran in REAL LIFE!!!
26 Anonymous
It isn’t an “extra” $1000 you just have lying around. It’s part of your emergency fund, one of the first things you should be saving for. I feel very comfortable saying that before buying any entertainment devices better than you can find in a thrift store, you should really have at least $1000 emergency cushion. From there, priorities among emergency fund, retirement investing, and spending can be debated. Then work your way up to 3 months take-home pay. It really shouldn’t be that foreign of an idea. Having $1000 cushion should be a priority.
27 Anonymous
OK, so I save like hell to have my $1000 cushion. I lose my job, can only find a part-time job with no benefits. Then my car breaks down. My job is no where close to any public transportation, and the repair costs $700.So need to raid that $1000 I have saved up. But then my husband gets a tooth abscess. That costs $1300 to fix. What little I have left in the bank goes towards the tooth abscess, and I’m forced to put the rest on a credit card, getting me in debt. Then our refrigerator breaks, and although we buy a replacement from a second hand store, it still costs $200. Then something else breaks down, and so on. People with money are very short on imagination when it comes to how quickly “cushions” disappear when you’re poor. You almost never have a time in your life without some kind of emergency that requires you to raid the “cushion.” You simply have no choice, and then the next emergency occurs BEFORE you are able to replace the cushion. So in essence, the cushion never really exists, because you are always forced to raid it just when it starts building up again, and the emergency is always MORE than the amount you’ve been able to save, so you become more indebted, and the banks make more and more money from you with their interest fees, all due to medical and life emergencies. People with money are clueless. And full of ugly self-righteous judgements.
28 Anonymous
animal, Your comment is more realistic than the one above it. sure we should strive for that cushion, but indeed, it does get used and then there isn’t one.
29 Anonymous
You are so outrageously stupid, it amazes me. You miss the entire point of what these people are saying. Let me break it down for you, it is not “our” responsibility to put a cushion in a bank account that we put money into in which the bank “makes” money off of our money just to prevent them from using devious tactics with deposits and withdraws to make incredulous profits from millions of people. That would be similar to stating that when we purchase milk at a grocery store and it is sour, we should have been responsible enough to have an extra gallon in the fridge on a rainy day. I have deposited cash through a night deposit at my credit union so that money would be there the next day to cover my mortgage and they have bounced the mortgage and then updated the deposit on the same morning. Are you kidding me? People like you are why this country is full of criminal people taking advantage of us everyday. Your ego is bigger than your brain!
30 Anonymous
AMEN – we truly need to organize this. Maybe facebook? Not sure most ppl would have the guts to follow through. We’ve all been whipped into submission so much by banks that we’re all freaking scared to let our balance drop below $100 in case the bank decides to post a bill on the very day our account is nearly empty. I’m sick of the rich a-holes who pay no taxes and contribute next to nothing to our society gouging every penny they can out of ppl in poverty. It’s sickening – TIME FOR A REVOLUTION!!!
31 Anonymous
Yeah, you can’t balance your checkbook or manage your own finances so therefore we need a revolution… good luck with that.
33 Anonymous
What economy are you living in Greg, the majority of Americans don’t have a cushion of any amount. Talk about out of touch with reality of our current society!
34 Anonymous
Of course they do this. The problem is that 99% of them do it. Banks, like everyone else, exist to make money. The only difference is that most companies make money legitimately while banks steal it from you with policies and behavior beyond your control.
The best way to combat this would be to leave these banks. However, this will never happen because the majority of society is too blind and ignorant to make a difference. One intelligent person leaves and five more sheep join.
I’ve given up on this issue. The only thing I’ve found worth my while on this issue is to make sure I never get close to overdrafting the account and make sure I behave myself, lest they take more of my money. Basically, I work around their policies so they never notice me. If they don’t notice me, they can’t take anything from me.
35 Anonymous
Well, sometimes one man CAN make a difference – Recently, both Bank of America and Fifth Third have entered consent decrees and will be offering refunds to their customers. I recently inquired about how Fifth Third processes transactions – and I got this, in part:
[B]eginning 3/25/11, we will process items in the following order:
First: All deposits (including funds available from pending deposits) made prior to the end-of-day cutoff.
Next: All pending and posted date/time stamped debits will be deducted from the customer’s balance. Date/Time stamp debits include all:
? Debit card transactions (both PIN and POS)
? ATM withdrawals
? Transfer from the account initiated via Internet banking or an ACE transfer
Finally: All other batch debits will process next in highest to lowest dollar order. These are transactions the customer initiated that are processed once per business day such as:
? Checks
39 Anonymous
Not at MY credit union – One Nevada Credit Union, in both Las Vegas and Reno will post withdrawals BEFORE credits even IF the credit came in at 5am…
Just had it happen, and if it happens to overdraw your account by even one penny, you are charged $35.
Been in banking for over 38 years, and in THIS state and in THESE times, it’s just another way to bend their customer over…
40 Anonymous
I use to be a supervisor for Wells Fargo Bank and I think who ever you talked to didn’t know what they were talking about.
Here is how it really works at Wells Fargo:
There are two types of transactions, teller and ATM. If you make a cash deposit with a teller, the cash will be credited into your account as soon as the teller hands you the receipt. If you make a check deposit with a teller an immediate $100 dollars is credited to your account and the rest of the check will be credited the next business day. If you make a cash or check deposit with the ATM an immediate $100 dollars is credited to your account and the rest will be credited the next business day. The difference is because the teller can tell the system that it is cash deposit where the ATM can’t make that distinction and everything gets processed like a check deposit.
So, if you make a cash deposit with a teller it is in the account and you can walk right out the door and pull it out of the ATM with out incurring any type of fee.
Secondly, Wells Fargo takes any credits before debits. So if you make a check deposit and on the same day make a debit card purchase Wells Fargo will credit your account the deposit before they debit out for the purchase.
The only snag is that the end of a banking business day is 4:00pm. This means for a check deposit to be in your account in the morning it must be in the ATM or at the tell by 4pm. I’ve seen SO many situations where a customer will make a 5:00pm deposit and assume because the made it in before the bank closed the money will be in the account by the morning, it won’t!
So, if you make a check deposit after 4pm and then go pull it right out, you will get charged the overdraft fee because you made the deposit after the business day is over.
All the differences and time cut off do make it really hard on people and can be confusing at first so I agree with other posters that it’s a good idea to always have some kind of buffer just in case you miss a cut off or the bank places an extended hold on your check. I do hope that this cleared up any skepticism with Wells Fargo because while I worked there I always saw that the bank tried hard to be fair and not hit good customers with outrageous policy or fees!
41 Anonymous
“So, if you make a check deposit after 4pm and then go pull it right out, you will get charged the overdraft fee because you made the deposit after the business day is over.”
OK, but if what you said is true here, then the ATM withdrawl would also be after 4pm and considered a transaction for the next business day, right? So, there really shouldn’t be a fee. I suck at handling my money, but having wells fargo take more than I put in it seems like, I don’t know if I can afford to bank with them…
42 Anonymous
“Tessa” you may have worked there but you are not correct about the order. My direct deposit was posted at 2 am Thursday every week. If they see something coming through that morning? They take that money out first THEN do my deposit AND u can tell because somehow my direct deposit is postponed till 4 or 5 am lol. Oopsy just so they have enough time to process any checks or credit/debits going through, imagine that. Also if I send cash through the ATM at any hour it goes through INSTANTLY. If I do it by teller? Next day if it’s after 4! Not sure what state you worked in but it sure wasn’t in Florida. Just sayin :/
43 Anonymous
@Tessa
I would actually like to challenge you on the credit before debit with Wells Fargo. I have banked with Wells Fargo for about 10 years now. When I switched auto insurance companies, the amount is auto drawn from my account on the 15th which is the same for my paycheck. Well for a while the amount of my auto insurance was more than i had available in my checking account and it would overdraft from my savings account. This really annoyed me because if i looked online it would be in this order:
Over Draft fee -$xx.xx
44 Anonymous
Yes, that’s true about Chase. You can rush to the bank ATM with cash if you see you have an overdraw that day and the cash is credited immediately. whew!
Chase was way ahead of Wells Fargo getting upgraded ATM’S that count your cash deposits, no envelope necessary any more and waiting for the next night (business day) to have your deposit credited. And Wells Fargo let’s you spend it immediately also.
Both banks post other Deposits/Credits at Midnight BEFORE Debits, which are iimmediately deducted right afterwards.
However, If you check your bank account online at midnight you won’t see this happen instantly because they have to upload their website for us to see our account info.
I was told this info from a Chase bank teller. Hope it helps someone.
46 Anonymous
The whole problem boils down to this: when banks started extending their hours, they didn’t extend their processing and cutoff times.
Customers ASSUME that because they’re making a deposit on a calendar day that it’s effective that day. If they would actually read their disclosures or ask the teller or call up like you did, there wouldn’t be any problems.
From now on, tell yourself that banks still close at 3pm. If you need it there today, you need it there by 3.
47 Anonymous
I was impressed with Presidential Bank’s handling of this.
Their interest-bearing checking account has a minimum balance of $1000. If you fall below that amount in a given month, you are assessed a $5 fee.
I checked my balance online one day when I knew I was cutting it close to the $1000 balance, and noticed that due to the order of transactions my balance had fallen slightly below $1000 before a deposit brought it back above.
I called Presidential, explained that because my end of the day balance would be above $1000 I didn’t want to be charged the fee, and they told me they would not charge me the fee.
Of course, it was only a $5 fee in my case, but I’d guess a similar phone call might produce the same result for a customer concerned about an overdraft rather than a balance limit.
48 Anonymous
I have had a bit of a different experience with WaMu. I have a Treasury direct deposit that hits on the first day of the month, or the previous day if the first is a weekend or holiday.
I have documented proof that they process my withdrawals BEFORE the direct deposit.
The good side? They only charge one overdraft fee per day!
Also, wouldn’t it be GREAT if the banks would re-set your overdraft fee after say, 5 years without an overdraft? THAT would be customer rewards!
49 Anonymous
That’s a good idea, but it would be better if the reset it every 12 months from your last overdraft fee. Down to $5 then go up in increments of $5 and top of at $35.
50 Anonymous
Additionally, I had a very large check drawn on the US Treasury that I deposited through ATM. WaMu held the funds for several days “to make sure the check was good”!!!!
Umm, please to let me know if the Treasury is not good for a 6 digit check, mkay?
51 Anonymous
Don’t open an account with Colonial Bank in Alabama, they’ll really stick it to you with as many debits as possible before posting a deposit that actually came in before them on the same day!
If I could do without a bank I would, but they have monopolized stealing money from those who can afford it least!!
52 Anonymous
You are absolutely correct I made the mistake of opening an account with them in Alabama and now that BB&T has taken over its a nightmare.
53 Anonymous
YES!! Me too! I’m thinking class action lawsuit here with Colonial Bank/BB&T. Contact me on my website if interested!!
54 Anonymous
I’ve had the same problems with BB&T. It seems it should be illegal to manipulate the transactions so that they can ‘justify’ charging you overdrafts. I just paid $140 in overdraft fees because they posted my deposit AFTER my debits and charged the largest debit to my account first even though it was the last transaction I had. I am totally in on a class action lawsuit. Please keep me informed if you decide to move forward.
55 Anonymous
I had the same problem with Colonial/BBT. I now owe them money for a stupid overdraft that never should have happened!
56 Anonymous
I feel sorry for anyone who banks at BBamp;T. They steal my money every payday. I live from paycheck to paycheck. I get paid twice a month and by the end of the 2nd week I’m down to pennies. But many times I make a cash deposit the day before a debit is suppose to post and they take out the money before they post the deposit. Just like today. I have $35 in the bank. An ACH withdraw is suppose to come out tomorrow or the next day for $33 plus I have a $20 monthly bank fee. So I ran to the bank at 3 p.m. and put another $25 in the bank. Now tomorrow will come and I’m sure with my luck the $33 charge will come through plus the banks $20 checking fee. My available balance at this time shows $60 so there should be enough to cover it. But I’m sure if both debits come in tomorrow they will charge me a $35 overdraft fee.
57 Anonymous
I’ve got one for you that “Top’s” all of this..ACH Deposits..Regions Bank …Even with the questionable practice of what “99 percent of banks do”..in regards to the ATM and deposit credits..Regions Holds ACH deposits for 3-4 days before posting them!!!..I have gone round-n-round about it with them (which they deny!)..and caught them last night..Deposit showed up before 12:00 PM as “pending” with a projected balance..should have processed at 12:01AM and be available..Today it’s NOT EVEN THERE!..and they deny ever having it….I can’t believe my on-line checking report is more accurate then their banking computers..This is happening all over..They use Billions of dollars “Interest Free” every day and there isn’t one agency that will take responsibility to look into it..America is getting Ripped Off again on a unfathomable level!!..I suspect it is collusion between the Fed’s who handle ACH Transfers and the Banks and they sure don’t want ANYONE asking about it..
58 Anonymous
I haven’t seen that; although again, they do process high-to-low, which is in contravention of recent court cases – Bank of America, and now Fifth Third… and other suits are pending against Chase, and several others. So, we’ll see. Ideally, we should be contacting our Senators and Representatives in DC and getting this procedure made unlawful.
59 Anonymous
BINGO! You ARE correct and I have “caught” them doing exactly that…I’ve been with Regions (and Union Planters before that) going on 20 years and after that (and the rest of their processing tricks), I’m out! My business will be going to a reputable Credit Union.
60 Anonymous
For those of us who live paycheck to paycheck. Having a cushion in the bank account is not an option. We have our bank account at BB&T (Branch Banking and Trust Co.) Even if our bank account has a positive balance, BB&T posts all debits first. They post our paychecks last- overdrawing our account, every week! (Our employer does not offer direct deposit.) We can not keep ahead of the bank overdraft charges! We were deeply affected by the mortgage meltdown and are now kicked by the bank when down. We have pleaded with them to forgive some of the service charges, but to no avail. I would love to find a bank that would post credits first.
61 Anonymous
I went for two years without a band account. Purchasing money orders from the grocery store was less than the banking fees. While maybe not the most desirable, it did save me money.
62 Anonymous
That’s not an option for me..I’m speaking directly to “Predatory” accounting procedures that would seem to me to be against the Federal Banking Laws!!..With the “On-line Banking” access that we all have now …you can monitor the “Dates” that Debits and credits are made and clear…..I have noticed that not only will Banks “Hold” the Debits at certain times of the month (hoping for a regular monthly payment debit) but will actually “Re-calculate” the day the debit clears up to a week or more after the transaction is complete…This allows for “Creative Bookkeeping” ..IE: $200.00 balance..in the next 3 days, 5 debits totaling $195.00 “Clear” the account..6 days later a $300.00 debit clears instantly (by some miracle) on the same day a $400.00 Deposit is made (either direct or ACH..with the ACH clearing at 12:00 that evening as ACH transactions do)..The Bank will re-calculate the previously completed transactions and pay the $400.00 debit first!!!..then bounce all the other debits (already cleared and change the clear date) and charge banking fee’s accordingly.and then figure the Deposit effectively “Ripping You Off”!!!…I’ve gone round and round with my bank about this…Without a 3-4 times daily printout of your transactions off your on-line banking site (showing what cleared when) ..the consumer has NO leg to stand on as the bank computer has been changed..(seems to be some kind of “Hunting” Software the Bank uses).Even with your printouts your looking at several hours of fighting with the Bank Mgr. who has a list of “Pat” excuses that rival a side show pitchman!..This doesn’t even take into account the aforementioned Deposit (ACH) that should be an immediate credit off a 2-3 day ACH “Memo Post”..and figured before the $400.00 Debit!…Banks are now claiming that ACH deposits are figured at 12:00 that banking day..while any debit made that day is figured first…This after they have just “Held” Debits for several days just to “Create” this situation…There is no way to Police this until someone gets a really good attorney to really take a look at this practice and do a “Class Action” Lawsuit representing consumers against the Banks and force the Federal Reserve to stop them from this illegal conduct!!..This is a Trillion dollar a year plus Rip-Off that no one has done anything about!!!
I challenge the members of this board and any Att’s out there to start a Web-Site to bring all these potential clients together and everyone to monitor and get printouts of their transactions several times a day to create the body of evidence needed to bring these criminals to there knees!!! The first thing to look at is a local store that you use often…Note that on certain times of the month the normal “Hold” on your money from a Debit Card purchase will clear that day…then later (when the power, rent, mortgage,etc.) when the bills come in there is a 3-5 day Hold on the transaction from the same store..allowing the Bank to figure the big debit first and creating yet another way of causing a multiple “Overdraft” on your account…This is all kind of tricky to grasp until you get good at reading your personal On-line account printouts..and watch the dates change on debits!!!…This is only possible with the use of “Hunting” seek and destroy software..very similar to a “Bot” virus..or “Phishing” program..It is the way of nature for the Banks to apply the technology that years of accomplished On-line Rip-off Artists have developed and used to steal from consumers..and once the existence of this “Mal-ware” has been documented and revealed to the public, there will be a flood of these lawsuits!!!…Watch Your Money!!.. Because The Banks Are!!!
63 Anonymous
I’m assuming your talking about Regions again? I always watch my bank accounts to see when credits, holds, pending, and other transactions are taking place. I’m watching Regions right now to see how a night check deposit is accounted for. Slow..slow…slow. I don’t like the system so far. I have Wachovia, too. Deposits go through fast at Wachovia.
64 Anonymous
On two separate occasions our bank has called us and said that our checking account balance has gone negative. They said if we made a deposit that day they wouldn’t charge a fee. The amounts were small and an oversight on our part. We don’t maintain much on deposit with the bank so presumably they treat other customers similarly.
65 Anonymous
I bank with Southwest Airlines Credit Union. They are awesome. I don’t work for SWACU but because my immediate family member does, I am able to bank with them. When I have a check direct deposited, they always post it at Midnight sharp the day it is expected…if that day falls on a weekend, they post it Friday night at midnight and the funds are immediately available. They also post deposits immediately and then debits follow in the order in which they were received. Southwest Airlines Credit Union is the best bank I have ever dealt with. I would highly recommend them.
I have a friend that was recently affected by the mortgage melt down. Her mortgage is with Wells Fargo and she banks with BOA. Both are crooks and will steal you blind. I have recently been helping my friend with her budget due to mortgage issues and the fact that I handle the finances for the company that I work for. I found and have documentation to support both practices. My friend was behind on her mortgage, what I found was: Wells Fargo repeatedly posted her mortgage payments not in accordance to the “Terms” stiplated in her mortgage agreement. They were outright violating that agreement. As a result, they showed her 3 months past due and they began foreclosure proceedings. She tried to get a modification to her mortgage but after 3 months nothing happened and her home was scheduled to be sold in an auction in September. We contacted numerous attorneys which required outrageous retainers and she essentially could not afford. Wells Fargo continuously posted multiple mortgage payments any way they wanted even though the mortgage terms specifically specify how these funds are to be applied, Well Fargo disregarded those TERMS stipulated in the mortgage documents. It was not until we filed a complaint with the Comptroller of the Currency which oversees banks with NA in their name that anything started to happen. Within one week of her home being sold, Wells Fargo approved her for a loan modification. The only problem, in order to save her home, she had to agree to accept all the extra fees that Wells Fargo had added from legal fees to you name it. She was essentially forced to accept these terms.
I have filed numerous complaints with various officials, agencies, wrote Senators, Congressmen in our area, etc.
Since all of this happened, I have been helping my friend manage her money. She banks with BOA. I print out her banking activity 2-3 times a day. The practice that Bank of America participates in is similar to those discussed on this website. Just to give you an example, my friend stopped by on Wednesday, her roommate just paid her the rent money and she had CASH. She asked if I would be able to stop by her bank to make the deposit because she is working 7/10’s. On 1/8/09, I made her CASH deposit to her account. The receipt shows DEPOSIT 1/8/09 however, BOA shows 3-4 different scenario’s depending on what time of day you check….I printed all of this. The CASH deposit receipt shows 1/8/09 as the date of deposit, online they show “deposit made after cut off time” and pending. On 1/9/09, the deposit was still “pending”. I checked online 3-4 times and printed everything out on 1/09/09, the CASH deposit did not show up and was not posted to her account until sometime after 5:30am the morning of 1/10/09.
I think the American public should protest these practices to our elected officals. If we don’t, nothing will change and who is looking out for us and protects the consumer these days? If you don’t complain then nothing will ever change.
66 Anonymous
In regards to that BofA cash deposit, it appears from the context of that post that you made a cash deposit to your friend’s account after the cutoff time for BofA. Cutoff time means the bank is effectively closed but is still staying open for convenience of customers. Now, although that cash deposit is marked as pending for next day, that is really irrelevant as cash deposits are always available immediately regardless if it’s showing as pending or not. You’ll see proof of this in what’s reflected as your “available balance”. I don’t see anything illegal or shady in that scenario you presented.
67 Anonymous
That’s exactly what I’m talking about!!!!..There is a “Mal-Ware” program that “most” Banks are using that searches for and “Tags” accounts that are vulnerable!!!..Most all the “Lowly Bank Mgr’s” are not aware of it and don’t understand what’s happening. They are give the “Pitch” to sell and their job depends on it!!!…As a Country we have to rise up and “Protest” and “SUE”…That’s the only way this will stop and keep it from getting worse!!!..I just had $600.00 in charges and fee’s reversed because I raised heck!..and I was right!!!..This is “SOP” for Banks now and will get worse!!..Rise up and Fight!!..We work to hard for our money to have it stolen by the people who charge us to watch it!!!..Read my previous posts and really try what I suggest…You will see what I am talking about!…It’s “Mal-Ware” being used against us by the same institutions that our Government is supposed to be supervising!!!…Where the Heck are the Lawyers when you need them???…Remember these days 2+2 +=10
68 Anonymous
There has been a Class Action against Bank of America for this.
If you had a Bank of America account between 12/6/2000 and 12/31/2007 and had a check with overdraft fees, you are entitled to a $78 refund.
69 Anonymous
Mike-You are so right and explained it perfectly!!! I am so mad!! This very thing happened to me this week, and now the extra days I worked last week are eaten up in fees thanks to PNC Bank’s predatory practice. I did check my balance online last week, as I do each day at least 1-3 times per day. Some things showed that they were cleared, then magically, voila!!! they rearranged the transactions. Transactions that were done over the weekend weren’t sent through until Wednesday, while others were sent through Tuesday that were done Monday. All electronic transactions. Furthermore, I deposited a check on Wed. as we don’t have direct deposit at our employer, and they bounced another transaction even though my account had funds because according to the bank, “The funds weren’t truely available” until the next day. I couldn’t deposit the funds “as cash” like usual, because, of course I was overdrawn. Kinda like a “catch 22” With whom do we speak or write to, state legislators or congressmen to get this practice changed?? I feel that the transactions should come out in chronological order.
70 Anonymous
I’m not siding with or against posters on this site. I just want to correct some misconceptions. Electronic debits are posted in the order that you spent them. Banks don’t have Malware programs that rearrange whole weeks worth of transactions. If you use your debit card over the weekend at Starbucks and then slide it at Safeway on Monday, the weekend debit won’t necessarily post before the Safeway debit. At Safeway, they’re point-of-sale machine allows you to process the debit as ATM allowing you to enter a PIN. That transaction posts that day whereas using your same debit card at Starbucks, it’s run like a credit card and there’s a delay in the posting depending on how long Starbucks sits on the transactions before they batch out their credit transactions and send it to the bank. So the point is, the order that you spend isn’t the order that it’ll post. It’s not magically getting rearanged, it’s just retailer sitting on their batches.
71 Luke Landes
That’s only a partial explanation. On the day the bank receives the transaction from the retailer, they are often free to post the transactions *received the same day* in the order they prefer.
72 Anonymous
Not at Regions. I’ve seen the “magic re-ordering” as well as the typical “highest first” re-sequencing that BofA just got gigged for doing. I’ve complained about it to Regions, and keep getting the “that’s standard industry practice” boilerplate reply. The one difference I can see between the BofA complaint and what Regions does is that Regions does make it clear that you can opt-out of overdraft coverage, or apply for “enhanced” overdraft coverage (loans) – and make it simple enough to do on their website. Given this ruling in the BofA case, I wonder if other banks that don’t adhere to strict chronological order, including Regions, will correct their policies. The one good thing I’ve seen at Regions is that ACH deposits (Direct Deposits) are counted in the “available balance”, even though they aren’t in the “ledger balance” until the next business day; “Cash” deposits are immediately available, as far as I know, even if they’re after the “close of business” cutoff time. But woe unto the Regions customer who has $500 in the account on Friday, and does transactions for $450 over the weekend, and a $75 transaction on Monday! EVERYTHING WILL BOUNCE and incur the $35 overdraft fee each.
73 Anonymous
Spend $50 at Safeway, and later go to Kroger’s and get $75 worth of groceries (Kroger’s means better meat!). The $75 will post BEFORE the $50. And if you only had $60, then BOTH transactions will generate overdraft fees. At least unless your bank happens to be one of the ones named as defendant in suits brought in Federal court to halt this practice – so far, only BofA and effective 3/25/11, Fifth Third.
77 Anonymous
I told you!!!!..all you have to do is keep printing this “Garbage” 2-3 times a day and keep all your records and we can build the biggest “Class Action Suit” this country has EVER!! seen…I’m talking about the “Blatantly Illegal” whole sale “Ripp-Off” of all times being done with “Collusion” between supposedly competing Banks!…(Trillions of Dollars) ..With something this “Wide Spread” you can’t tell me the “Bank Examiners” don’t know about it!!!..so that brings the ‘Suit” to the “Federal” level…That will get good Att’s involved!!!..but everyone has to “Print-Out” the pages to “Prove It”!!!..We need a Bumper Sticker or “T” shirts or something!!!…TV coverage would help…It will get “Rolling” on it’s own if just a few people start to “Push” and “Record” everything!..Just another “Tidbit” to ponder….Your “Deposit” of your paycheck gets a “Memo Post” as soon as the teller stamps it…That money is instantly available to the Bank for it’s own use..and they both report it and invest it instantly!!!…without paying you dividends for your “Loan” to them..(while you wait for it to clear)…Then if there is a problem..they charge you again for some one writing you a “Bad Check”…They gain and you lose..your responsible for any fee’s incurred and the only way you can collect those fee’s is to sue in Small Claims Court”…This wouldn’t bother me except for them getting to make money off me without paying “Interest”..and again “Shuffling” the Debits and Credits to cause more “Predatory Banking”…The Suit referred to (in previous post).. against BOA was Settled out of court so there was no conviction…There have been some very “serious” Suits about similar and “Overlapping” topics that have all gone in the customers favor and established some pretty “Harsh” penalties for these “Practices”…but no one has jumped up and done anything in the last 10-15 years of any consequence…a lot has changed (computers) and has allowed for this Larcenous behavior on the part of the “Fed. Banks”..Now we have to Police the Government ourselves as the Tax Paid employees of the US (That you and me and our Tax Dollars pay for)..Don’t even make an “Attempt” to enforce or follow existing Laws!!!..This could be a “Juicy Suit” …Like I said ..”Where’s that hungry Lawyer???”…I know that my cut will be some stupid little pittance but what I’ll save in Bank fee’s, Time, Hassle, and Money will be just fine!!..This Bank Stuff is killing me!!!..every week!!!…I’m tired of making them give me my own money back!!!…$2,600.00 this year!!!…plus the phone calls, printer paper, time, BS, Gas, Time off work, ETC.I got a hold of the Fed. in charge of all the Bank Examiners..(nice guy)..He’s lost in an obscure office in Wash. and personally responded to me by phone at 6:30 at night!!!..from his car!! on the way home!!..has a secretary and that’s it!!…One guy!!..He’s so busy with all the “Bush Money” being given out to all the “Party Animals” that are claiming their share..that watching Banks is very low on his “Plate”!!!..It’s in our “Laps” whither we want it or not!!..On a personal level all you can do is what I suggested and they HAVE to give you your money back…(don’t jump intermediately..when you see it..wait for a week or so to get all the “Print-out’s” in order and things calm down on your account..Early complaints can cause you even more trouble as they realize you are watching..(Things get real strange then..2+2=10..every time..)..Anybody make “T” Shirts???…”Bust the Banks” or something…
78 Anonymous
I was buying 2 game cards from my country with my debit card. Those card have been cancel but PNC put my $12.85 in “Pending Withdrawals” for 3 days and I haven’t seen any side they give my money back. What should I do? I send PNC an e-mail to day but I think it won’t be answer or if they answer, they could say anythink they want. I think I need to withdrawal almost all of my money and transfer them to another bank that have better service.
79 Luke Landes
ducanh: That’s a debit preauthorization that you see in your account, and the bank might keep them there for five days or more, but usually less. They’ll just disappear if the debit was canceled by the place you bought the game cards. If the purchase wasn’t canceled, the preauth will become a debit and if you want your money, you’ll have to get the game card seller to credit your refund.
80 Anonymous
“debit preauthorization” !!!!!!!!!!!!!!!!!!!!!!!!another fancy word for your money is gone and we are using it and making money off it, but, but ,but you better not screw up or we will charge you an overdraft fee because we want to leave it out there like a Buzzard!!!…THIRTY FIVE DOLLAR
81 Anonymous
and another thing..“debit preauthorization”..is a “memo post”..which the bank uses to make investments..and hold your deposits..they “memo post” ..bank uses money until they decide to put it on your acct…..during this time your money can’t be accessed..but they are using it..and if you try THIRTY FIVE DOLLLARS
82 Anonymous
This is the policy at PNC. I recently made a $2000.00 deposit, and it posted as cleared when I checked my balance online, so I scheduled some payments. Several days later, I got a letter saying that the deposit would take longer to clear, so I was charged an overdraft fee on each payment I had scheduled. When I asked the bank about it, they essentially said that even though the funds had posted online, I should have known that the check had not cleared, because it hadn’t been 48 hours yet. In the past, checks that hadn’t cleared were posted under “pending transactions” until the funds became fully available. The bank told me they stopped doing this, now they post the full amount, even if they haven’t cleared it yet, then charge you an overdraft fee if you try to draw on it. This is obvioucly a way for them to collect higher fees.
83 Anonymous
I bank with Compass and they have explained to me that they subtract all the debits first. Then they tack on any OD fees if able to, after that they credit you’re account with whatever deposits you have. I was not aware of this untill about 6 mo after i had the account. The bank rep that set up my account never mentioned this practice to me. I would like a honest bank but they seem to be in short supply. Does any one know of a good one in DFW TX?
84 Anonymous
This is spot on information. Currently, there is a class action suit against a long list of banks around the country that are using software that deliberately posts debits ahead of credits to create as many overdrafts as possible. This is outright theft, folks, and is illegal as hell. But, it’s not at all surprising once you realize that the entire banking industry is a fraud and criminal enterprise, in the first place. Read books like G. Edward Griffin’s “The Creature from Jeykll Island” to learn more about what the international banking industry has been doing for over a century.
85 Anonymous
Wachovia is the worst for this…I have called and verified a deposit has been received at the bank and then called to pay a bill right afterwards and they processed the bill and then applied the deposit and charged me an over draft of $35. Even though their automated services said the available funds were there….they are totally out to rip you off. I am closing my account with them on the first of this month for that reason. They said the deposit had been received but not fully processed so they charged me the fee even though the automated system flected the avialable balance as there. (what???)
86 Anonymous
Chase is terrible. Anyone ever heard of holding a payroll direct deposit? My payroll deposit has been on time for 2 years. Now, all of a sudden, they tell me over the phone it’s scheduled to be posted 4 days later. My colleagues have received their deposits, on time! Even those who bank with Chase. This is highway robbery! Because it’s the holidays, they are trying to force me to overdraft my account! Can I collect interest on the money they are holding? Who do I complain to?
87 Anonymous
Info above on Chase is not complete. Payments made with their on-line Bill Pay system are processed before deposits.
Another “feature” they have is overdraft protection is first taken as a cash advance from any linked Chase credit card before it’s taken from a linked savings account. (Was told I couldn’t unlink my Chase credit card from my account.)
@Julie: Agree! Chase is terrible. You’re supposed to put money in a bank (rather than mattress) to keep it safe. I have to watch Chase closely to keep them from stealing. I never had problems like this with WaMu. Since Chase took them over I’ve had to call and argue 5 or 6 times about service charges. The last one was a $45 service charge for late payment on my Chase Credit Card. I paid it from my Chase Checking account using Chase Bill Pay. I authorized the payment a week before it was due, funds came out on the date they chose (same day), but were held for a day (by Chase) before being delivered (to Chase). I had to argue with 3 people for over an hour to get the $45 refunded. I kept being told “sorry, no one here can reverse the $45 fee because we didn’t receive your payment on time.” (Switching to City National when I can close the Chase account.)
88 Anonymous
I have a tiny little credit union doing the same thing now out of Lancaster, SC. Doesn’t matter if it’s the same day, they tell you afterwards,they “Process” transactions as they come in, no matter that they “advertise” same-day banking..If you protest, then they return the money, begrudgedly telling you “Now we’ll do it THIS time”..
One Friday however back in the Winter, I went to make a deposit to cover my insurance payment due the following Monday..The bank branch was LOCKED at 5:30 instead of 6:00pm. I went to one door, then thought, okay, the drive-thru was open. ..NO, the curtains were down…I went back to the other door, and finally someone came..”Oh we’re closed.”..”Yea, it’s not 6pm, it’s 5:31, What’s up?”. I demanded….”OH we gotta’ go home, the roads are FREEZING”…I look out at their own time, thermometer clock and say “It SEZ, 43 DEGREES!”…
I put my deposit in the night box, made a camera phone pix of me doing it with a time date stamp of 5:40pm. AND drove off in a huff to my other account, a non-joint account at Wal-Mart. (they stay open until 7pm, and notify you immeadiately online of all pending transactions.)..Their response was to offer me a “finder fee” to pass out their brochures with my name as a reference on it to ALL Founders Federal Credit Union customers…
MONDAY, I go in to the branch, ready to make the trip over to the main branch in Lancaster, SC to raise 3-shades of HELL expecting an overdraft fee and my insurance payment returned when I’m greated at the door..”MR XXX”. we’ve already taken care of it for you. Here’s your deposit slip. We’ve had to do ALL the transactions like this today”..
This past Saturday, I make a cash deposit in their night box as my usual tranascation….Founders Federal Credit Union of SC shows a debit run first, then an overdraft fee, then my deposit…They all came within a minute of each other. The branch manager made the CONCIOUS effort to allow this..
SO, I”m taking a shower, getting in the car..AND DRIVING the 50 miles to Lancaster, SC to present a message to their board members that I might only be one person now,BUT that I have access to the names and address’s as a MEMBER of all other MEMBERS’s and are going to exercise the right to call a meeting to discuss “changes” to the credit union’s policy seeing as “we” own it. I already got an acquaintance at WBT in Charlotte who 1)Hates bank policy as much as anyone 2)Sees a major David vs a Tiny Goliath that could send some serious shockwaves atleast thru the Mom and Pop banks who want to play the same game as the BB&T’s and the BOA’s..
Having worked for banks over 13 years in their processing/networking departments, I know EXACTLY the “type” of scheming, coniving, CROOKS that run these places..Sniveling, lazy underachievers falling all over one another to find a way to get more of YOUR money. Their biggest fear?. Organizing a good ole’ RUN on the BANK!. It was recently done to a bank in the UK and laws were changed calling bank fees “illegal usury” and customers are now able to sue for TREBLE damages in the common court by showing how their financial situation were damaged.
What the UK told banks is 1)It’s the CUSTOMER’s MONEY not YOUR money to begin with…2)They the CUSTOMER give you the bank the PRIVELEDGE of watching their money in exchange for you being able to lend it out therefore making a fair return from those loans 3)Without THE CUSTOMER’s MONEY, you wouldn’t have ANYTHING at all!.
OR as a friend of mine once told me (who was in the banking biz himself for one of the few semi-honest instituitions)..
“Without the customer’s money, the bank doesn’t even own the carpet on the floor or the pictures on the wall”….Another friend told me “Banks make paper lie”.Remember this when you deal with any bank. Tell THEM how it’s going to be with YOUR, not THEIR money, NOT the other way around!
90 Anonymous
Reading this thread reminded me of another practice I have seen. I have had pendng authorizations that in total would have over drawn my bank account by $1. I deposited a couple of dollars to cover this before they cleared. They processed the first transaction(which happened to be a transfer between accounts) before the deposit, stated that my available balence would not cover it(it still showed -$1) and charged me overdraft fees on every transaction made that day. The kicker was that the day before was the end of the window for my signup bonus to be credited. The told me that the status of one of my accounts had changed at some point in time after I had allready recived conformation e-mails stating that I had been approved and the bonus would be paid with a specific window that if would be paid in.
So in effect they tried to disqualify me for a bonus payment that I allready recived recived corrispondance stating the qualifications, dates met, and final conformation of approvial after I called them on it. While at the same time they charged me overdraft fees for a transfer between accounts that I made while my available balance was more than enough to cover it. That brought my overall balance below zero AFTER the fee was assesed
(had they not charged the fee all transactions would have cleared because the deposit showed before the last transaction in the statement) I asked them to freeze all activity, or close the account untill it was cleared up and they refused, thus charging daily overdrawn account fees..
It took a week of e-mail corrispondance for them to finally tell me that it had to be handled by my home branch’s manager. Now I can honestly say I love her to death, she did return my balance to what it would have been. But I also know that if they hadn’t I had proof that my girlfriend had completed transactions in an account that they used to try to disqualify me for the bonus( they said that because she was only on one, not both accounts it changed something). I belive the only reason they stopped arguing with me about it was because I stated verry clearly that I could probibly screw them with what they said in the corrispondance, printouts made before and after everything posted, and recipts showing that the tellers had allowed my girlfriend access to an account that they clearly stated in corrispondance she did not have access to. Whe I feel better now that I got that out.
91 Anonymous
Easy. My boyfriend has no online account access set up. So, this means that I can’t micromanage his funds as I do mine. He has my account number to make deposits. We have seperate accounts and neither of us have mentioned the others name so there is no possible access to the other’s money. Deposits never hurt.
92 Anonymous
So does anyone know of banks that post credits first then debits. I was told First market bank does.
so in a scenario where you see a pending debit, you can run tothe bank, make a deposit by 1 or 2 and it will protet you and be credited and cover the pending debit
93 Anonymous
This is what Commerce Bank did to me. They allowed a transaction to go through although I did not have the funds in the account when I made the purchase( I accidentally grabbed the wrong card). When I realized my mistake and told the cashier at Jiffy Lube to not use the card, she said it went through, I thought it was strange. She had put it through as a credit. Earlier in the day, when I had enough funds, I made a purchase at Dunkin Donuts also as a credit. When the deposits came through for the day, they of course bounced the transaction at Jiffy lube and the purchase at DD, also purchases at DD from days before! when I actually had more than enough funds in the account at the time I made the purchases. Consequently charging me a whopping $175. I went straight to the bank to argue, then they handed a waiver to sign to say that I won’t allow then to put the transaction through when I don’t have enough funds in the account. Why wasn’t I told this before? They credited me most of it on the spot, but then took it back the next day! This should be illegal. The most convenient bank? Convenient crooks!
94 Anonymous
I have been with Bank of America for over four years. Never had a problem, I can deposit cash or check into the ATM and it’s available same day ( if its cash) and you deposit it before 8pm. If I am depositing check same thing it’s avalable same day if it’s under 3,000.00 anything over 3k is one day business hold. Awesome bank been with them since the Military. Never got charged fees, I got one fee for check order and I spoke with representative and they refunded it back to me, no issues at all. If you are looking for a good bank with good customer service join up!
95 Anonymous
I just want to know when exactly the “end of the business day” occurs. I bank at US Bank and have found that deposits made after 4:00 pm are supposedly credited “after the next business day”, but deposits made after 4:00 pm on Friday are not available until Tuesday at midnight (rather than at 4:01 on Monday). So, does “the business day” end at 4:00 pm or does it end at midnight (first tick) of the next day? Apparently there two different “ends of the business day”, one of which is used for deposits and another (eight hours later) which used for funds availability. That just seems wrong to me (and should probably be illegal as well).
96 Anonymous
I’m wondering what anyone out there knows about SunTrust??? I have been with 5/3 Bank for about 7 years and I’ve had enough. Last week on Friday at 4:30pm I paid my Fuel Oil delivery person with a check for $600.00 At noon of the same day I had made a deposit of $550.00 which brought my bank balance to about $900.00. It never occured to me that I was in an overdraft situation. …but I was because the delivery man went right down to the branch and posted the check (I guess he really needed the money fast). That night I had several withdraws and because that check came out first and then the other withdraws then my deposit posted, I was overdrafted to the tune of $99.00 in fees even though I had a positive daily balance of $250.00. I’ve confirmed that this is not SunTrusts practice but is there anything else that should know about??? Oh, and they refunded me one fee. Thanks 5/3 Bank your awesome!!! :(
97 Anonymous
Go to 53.com; there’s a link near the bottom of the page pointing to the Class Action Settlement website. File the claim based on what you’ve posted. You should get it all back.
98 Anonymous
More on 5/3…
I had the same thing happen, almost. Deposit made at 9:13 AM, with internet transactions (ACH) about an hour later. The internet transactions generated an overdraft, even tough they did not post until three days later. A quick call / email to the branch manager fixed it 100%; I had made sure that the POS/ATM (instantly / chronologically processed) transactions were well within the pre-deposit balance.
99 Anonymous
Vystar Credit Union (Jacksonville, FL, Gainesville, FL) is definitely one of those financial institutions that calculates debits and credits in such a way as to result in multiple overdrafts in one day. They apply your withdrawals (ACH withdrawls, checks, etc.) first, suck out the NSF fees, then lastly, they apply your deposits (including Direct Deposits). Vystar looking out for Vystar first, customer last. I am seriously thinking about switching financial institutions.
100 Anonymous
I’m in Indianapolis, Indiana… and I’m having trouble locating an attorney with both the staff and the time to handle filing a suit similar to the ones previously mentioned against Regions Bank. I found one, but there’s a conflict of interest – their offices are in the Regions Bank Building downtown, so they’d be suing their landlord. Does anyone have a suggestion? The bar association’s referral service has been less than helpful (small one or two person firms) Thanks!
101 Anonymous
Hi everyone,
I know this has nothing to do with the subject, but I researching for infomation regarding a system used in banking whereby Cash & Cheque-Withdrawals and Deposits, telex transfers…whereby the Teller services are approved through a POS like machine by swiping your Debit Card and entering your PIN and in case you do not hold a Debit Card, a receipt can be printed for you to sign…does anyone have any idea about such a machine and what’s its techical name.
Thanks
102 Anonymous
Just got done at the bank (BB&T) trying to figure out their practices in posting trnasaction after I recieved $140 overdrawn fee. I tturnes out the way they figure is to take your last daily balance subtract what ever is pending then start subtracting posted payment starting with the most expensive and on. So with this happening and them taking out “PENDING” transactions before they start doing other math my account which should have been $60 after a late night transaction deposit of $80 and debit tranaction of -$20. They have now assesed me $140 with another $70 coming out later….Not even the bank manager could fully explain to me their practice on this. HOWEVER, thirty minutes into our conversation she did state that starting next month (June 2011) banks are being regulated and required to post transactions in order of appearance not however the hell they want so that they can make the most profit
103 Anonymous
TD Bank (Commerce Bank – whatever) Shuffles accounts around when your account is down to it’s last dollars. For example. I had $130 in my account on Saturday. I got gas for $30.00, then went to the atm and took $60.00 cash out, went to the grocery store and used my debit card (as a credit) for $30.00 then rented a movie at red box for $1.00. My total in transactions was = $121.00, leaving me with $9.00. On Monday I went to the TELLER and deposited $10.00 cash just in case. My balance read, after the deposit,.83. Frantic, I went online and sure enough my pending gym membership of $49.00 was coming through. My account was then shuffled (most expensive item first, even though pending, came first – my gym membership). Then I was charged $105.00 in overdraft fees ( though it was not clearly stated on my online account as to what this applied to exactly). Upon visitng the bank I found out I was overdrafted for the cash, the grocery, and the movie rental (gas did not come out until Tuesday when acocunt was cleared again). Even though I had money in the account according to the ATM, online banking and the teller – by Monday, the pending $49.00 took precedence, as did the gas pending (only $1.00 really) but they took the whole amount of $30.00 against me. If your confussed so am I, and so was the customer service rep at the bank, and so was the young teller. Shuffling to TD Bank advantage. Shaddy, shaddy practice and it should not be legal! I am switching banks to a local one ( one of the few left). TD Bank is an awful establishment.
104 Anonymous
Has Anyone tried Woodforest National Bank that are located nationally in Walmarts? Ive had them for over a year and the way their system works is that the banking day ends when the bank closes at 6 or 7pm depending which day it is. I have an ACH deposit go through every Thursday night/Friday Morning and it will post to my acct and be available IMMEDIATELY. At my old Wachovia acct it would not post to my acct until MONDAY or TUESDAY. It is a direct deposit for christs sake. I have had very little problems with them, a big problem is that Walmart is usually always mobbed and it is inside walmart. Also, when you first open an acct with them, if you have a huge personal check come in, they will put it on hold for like 7 business days. It drove me nuts, but other than that, Woodforest is worth the little trouble. Another thing they do which is great is send you a daily email with not only an UP TO DATE and trust me..it isnt like Wachovia or Wells Fargo where the information in their “balance alert emails” is a day or two behind. But say in that email (whch is sent at about 5am) it says your in the negative from transactions that posted that previous night. You have until close that day to deposit enough money to cover the balance. Another awesome thing is that they are open on SUNDAYS for like 6 hours and to them, every single day except Christmas and thanksgiving and maybe a couple other holidays, is a BANKING DAY to them. Everything you deposit is available for immediate withdraw and posts to your acct the second you put it in. Hope people research Woodforest and let me know what you think!!! And no, the last place I would want to work is a freaking bank. To me it would be like working for Satan, so it is not like I am promoting the bank bc I work or worked there. Hope the rest of these banks ESPECIALLY Wachovia, get whats coming to them.
106 Anonymous
GET THIS ONE…. KEY BANK
I HAD A PENDING TRANSACTION ON MY ACCOUNT- NOT YET POSTED, SHOWING A TEMPORARY NEGATIVE BALANCE. I RUN TO THE BANK TO MAKE A $CASH MONEY DEPOSIT TO MORE THAN COVER IT; I GET THERE EARLY AFTERNOON, THE BANK IS CLOSED. ITS NOT A BANK HOLIDAY, IM AT THE DRIVE THRU AND HAVE NO CLUE WHATS GOING ON, ALONG WITH A HANDFUL OF OTHER CUSTOMERS CIRCLING THE BANK TRYING TO FIGURE THIS OUT.
I FINALLY GET A HOLD OF A FRIEND WHO SAID THEY SAW KEY BANK PEOPLE OUTSIDE DOING STUFF. FINALLY TODAY, CALL THE BANK, THEY HAD A “HELP THE COMMUNITY DAY” OR SOMETHING LIKE THAT, AND CLOSED THE BANK FOR THE DAY!
SO, MY CASH DEPOSIT WAS DEEMED NOT RECEIVED UNTIL THE NEXT DAY EVEN THOUGH I OPTED TO AT LEAST DEPOSIT IT THRU THE ATM. I CALL THEM, THEY SAY I SHOULD HAVE KNOWN ABOUT THE CLOSING! THAT THEY HAVE A SIGN ON THE DOOR! I DONT GO INTO THE BANK EVER.
THEN THEY SAY, EVEN IF IT DID POST THE DAY I PUT THE MONEY IN, THEY POST DEBITS BEFORE CREDITS SO THAT NO MATTER WHAT, THEY CAN CHARGE YOU OVERDRAFT FEES; WHICH ARE $39 DOLLARS EACH! YES, IM TALKIING ABOUT KEY BANK, KEY BANK. THEY ARE LIKE THE ONLY BANK WHO DOES ANYTHING THIS UNETHICAL. AND TO BOOT, I HAVE SELECTED THE OPTION TO NOT HAVE MY ACCOUNT PAY OUT ON ANY ITEMS FOR WHICH I DO NOT HAVE THE FUNDS. THIS WAY, I WOULD NOT HAVE THE FEES. WELL GUESS WHAT, THEY DID THIS ANYWAY! THERE IS SOME OTHER SMALL TYPE PART TO THIS TOO!
WHAT A RIP OFF! KEY BANK SUCKS!
110 Anonymous
i want to add about chase bank… you can deposit a check anytime, but they process debits as late as 11pm. your check isnt avail. to you.. but they have no problem chargingyou that overdraft fee when they allow funds transferred out at 11pm.. they know they are in the wrong because i was able to recover $120 in fees due to this shady practice.
Best thing to do is load money for online bills to a prepaid card, pay in cash when you can, and deal w/ the bank only for savings that you want to earn interest on.
111 Anonymous
Banks make money by keeping you confused. The fees are getting more creative, like charging for paper statements, using a teller for an “online” checking account, ect ect…
THE BEST NEW SCREWJOB IS THIS: Charging you to use YOUR MONEY in your LINKED SAVINGS to AVOID the “overdraft fees” …. so wait a minute, whats the interest rate on auto withdrawing 5 bucks out of MY SAVINGS CASH… to cover a $4.98 purchase… and then charging me a $5.00 for the privlage of using my own money to cover the fee… if I was standing at the bank and withdrew, and then deposited the money their would be no fee, so they argue it is “convienance” fee… In actuality, they are LENDING YOU YOUR OWN MONEY for 1 day amd charging 100% simple interest for the “right to access” your own damn money…. Bank of America, Wells … avoid….
Honestly, platforms like Serve(American Express) and paypal are the last great hope. All the bank regulation will ensure FEES WILL CREATIVELY STAY AHEAD of Legislative Law, and keep your poor “stupid” self confused. You are “stupid” because you cannot read, and comprehensively apply and adopt a 50 page legal disclosure written in a mix of latin, english, and accepted legal jargon that by it’s very nature uses a DIFFERENT DICTIONARY than an english dictionary, so the good corporate lawyers, can easily intentionally appear to be saying one thing to a “stupid commener”, but really are legally saying something quite different. That is why they make <800k a year. They can legally lie through word manipulation, and have a firm legal basis only another lawyer would be able to infer.
Three rules to live by:
1) never keep all you money in one place
2) the world makes money by taking your money
3) money is paper, and is only worth what someone is willing to give you for it… the FED can put all of the non elite in the poor house by flipping a switch (and have by adding a 1.2 trillion dollar printing session to avoid American default on money the Government bowwrowed using tax dollars not collected as leverage).
ING bank – awesome – they don't even do overdrafts, it is a "lending fee" that comes out to under a dollar per transaction… Cap One just bought them out so KEEP YOUR ACCOUNT AGREEMENT! – RESPOND WITH A CERTFIED REFUSAL LETTER when they try to change the terms.
Ally – 8 dollar overdraft fee, only 1 per day
Schwab – will pull from a linked brokerage cash balance for free
other than that, I would look for an honest local credit union.
112 Anonymous
I work at a bank. Cash deposits should always be made in a branch with a teller. They are available immediatley. If your bank holds cash deposits made in person at a branch, find a new bank. Never spends more than you have in your account and you will never become overdrawn. Opt OUT of your banks standard overdraft practices. This will save you lots of time and money. Also, maybe make one large withdrawl and spend cash for small purchases so they will NEVER overdraft your account due to posting order…
113 Anonymous
US BANK. Handed the teller cash. Wasn’t counted until the morning after a charge came through. $30. Considered buckling, and depositing cash to cover an upcoming charge. Problem? They’
ll just do it again. And again. And the tellers admit it! There is no apology. There is no refund. There’s not even any shame. US BANK Class actions anyone?
114 Anonymous
I went to the drive up window at US Bank to cash a government check drawn on their bank and branch. They said I’d have to come inside. I told her I was without my portable oxygen unit and I didn’t have the strength to come in. She told me it would be a $5.00 fee for a $61.00 check. Then she got a manager. She said that if I came in, they would be happy to put the $5.00 in a new account for me. Isn’t that blackmail? Either sign up with us or lose the money? I asked her where the money went. She ignored me, it probably goes to their retirement plans. Must have gotten the idea from the government.
115 Anonymous
All banks charge a fee for cashing a check with them if you do not have an account there.
116 Anonymous
And NO I do not work in banking I just want to be fair. There is plenty to complain about across the board. Fractional Reserve banking is a fraud to begin with. They loan you money, charge interest on 100% of the amount yet only have 10% of actual bank assets contributed. The Fed “creates” the remaining 90% on a computer keyboard. Gotta love it. Foreclosures are particularly an interesting concept when you have paid back more than 10% of what you originally owed. Seems to me the bank has already recouped their investment…..
117 Anonymous
I have never had this happen with US Bank. I have even made cash deposits at the bank ATM after closing (but before 7 pm) and had them count it as deposited the following day and immediately allowing access to $200 of it. Teller counter transactions are credited immediately….
119 Anonymous
You should have recieved a notice to be part of the class for the BOA thing. I got mine in the mail last week. Unfortunatley the customers who were taken advantage of will get a few bucks (likely less than the cost of one OD fee) and the lawyers representing the class will reap many many millions of dollars.
120 Anonymous
Thank you, thank you. I’ve been trying to find “Standard Banking Practices” regarding deposits and withdrawals. Apparently there are no standards. I’ve been doing battle with Alture Credit Union over just this matter. If you deposit cash at an ATM ” DO NOT” use your ATM card until they decide to empty the terminal. When they find out you really did deposit cash, well it’s just to bad for the client because you just racked up about $ 300.00 in overdraft fees.
Thanks so very much for the info.
Myra
121 Anonymous
I’ve found that if your bank doesn’t give you any up front money when you deposit through the ATM and you have cash to deposit. I use a deposit envelope and a deposit slip and drop it in the night deposit. It may not go in right away the next day until midnight, but at least you don’t have to worry about making it there before the banking business day is closed.
122 Anonymous
I have an account with Compass (a relative of Wachovia), which I have had for many years. They post debits first, then credits. I was just charged 2 $38 fees on the same day when this happened. I asked for an explanation or remedy. They did not respond. I asked again a few weeks later, again – no response.
I just cancelled the direct deposit and auto student loan payment from that account. I’m firing Compass. I noticed that Capital One is offering totally free checking – no minimums – that pays 1% interest.
123 Anonymous
I’ve been screwed by ING several times. I’ve checked my account online and the money I’m waiting for has been deposited. So, I go to the ATM and make a withdrawal. When I come back, miraculously, the deposit that was there when I checked has suddenly disappeared, only to reappear a few minutes AFTER I made the withdrawal, thus allowing ING to charge me an overdraft fee. It’s only a few cents, but it pisses me off. They’re making millions of dollars a year by doing this with other customers.
I used to love ING but now rarely use them as they’ve become just as scammy as most other banks.
124 Anonymous
A few cents? while I understand that the deposit disappearing just long enough to charge you is annoying, that sounds way better than what I’ve experienced with WF! I will have to look into this..
125 Anonymous
Yes, Wells posts then removes credit card transactions you make with the debit/credit card the following day so that you think your balance includes that withdrawal when it doesn’t. An attempt to generate overdrafts. No longer with them. They are one of the WORST in my opinion.
126 Anonymous
Banks are all over the place in regards to how and when funds are debited and credited. I have deposited many Chase written checks to my Chase account. Obviously Chase immediately knows if the check is good and can make all funds available immediately. Sometimes they do and sometimes they dont’!
A few times Chase did the switch-a-roo and did not make funds available till the next day. I asked a Chase manager and he said “he’s heard about that, and sometimes it’s kind of hit and miss”.
With the new legistlation with credit card companies, the banks will continue to find creative ways to screw the customer. Of course one can alway have plenty of money in the bank and never have this problem. My issue is that they have rules that their own branch managers cannot clearly define. I showed receipts to the branch manager and all he could say was “hmmmm. that’s weird”.
The banks have ran many models to see which scenario will generate the most revenue. They change accordingly. Yes, it’s business, but it’s also very deceptive.
Example: I have $1000 in the bank.
9:00am I buy breakfast $10
12:00PM, I buy lunch $20
6:00PM, I buy dinner $30
8:00PM, I buy a new TV $995
*My account by the time I buy the TV should be overdrawn. I will get a $30 overdraft fee.
However, many banks will debit the TV first even though it was the last transaction, then my breakfast, lunch, and dinner so each will overdraft for total of $90.
127 Anonymous
Opt out of “overdraft protecton”. The TV purchase will be “declined”, but there would then be no overdraft on any of the purchases.
128 Anonymous
this JUST happened to me…I have a compass account and noticed an overdraft fee..however my statement never reflected I was overdrawn. Was told by the customer service agent that it was their policy to debit first then credit…so, the can line their pockets with $38 per overdraft. There should be some standardization to bank policy. I’m still shocked…
129 Anonymous
It should be noted that CASH transactions are to be processed immediately on the same business day the transaction is done and be part of your available balance as per Federal Depository Regulations (Regulation CC…)
The following types of deposits must be made available on the first business day following the banking day of deposit (“next-day availability”):
1. Cash deposited in person to one of your employees.
2. Electronic payments received by your institution for deposit in an account — An electronic payment is considered received (deposited) when your institution has received both payment in collected funds and information on the account and the amount to be credited. (Under other rules, funds for most electronic deposits are made available on the day of deposit.)
3. U.S. Treasury checks deposited in an account held by a payee of the check — Unlike deposit types listed in 4 through 8 below, which pertain to deposits made in person, Treasury checks deposited at an ATM owned by your institution (a “proprietary” ATM) must be accorded next-day availability.
4. U.S. Postal Service money orders deposited in person to one of your employees and into an account held by a payee of the check.
5. Federal Reserve Bank and Federal Home Loan Bank checks deposited in person to one of your employees and into an account held by a payee of the check.
6. State or local government checks deposited in person to one of your employees and into an account held by a payee of the check, if your institution is in the same state as the payor of the check. (Note: If the customer desires next-day availability of funds from these checks, you may require use of a special deposit slip.)
7. Cashier’s, certified, or teller’s checks deposited in person to one of your employees and into an account held by a payee of the check. (Note: If the customer desires next-day availability of funds from these checks, you may require use of a special deposit slip.)
8. Checks drawn on an account held by your institution (“on-us checks”) deposited in person to one of your employees or at on-premises ATMs or night depositories, if the branch or branches involved are in the same state or check-processing region.
9. Deposits that include some checks of types not listed above — The first $100 (or the total amount of the deposit if it is less than $100) of non-“next-day” checks must be made available the next day.
Exceptions: When deposits of types 1, 4, 5, 6, and 7 are not made in person (for example, when they are made at one of your ATMs), the funds must be made available by the second business day. Deposits, cash or check, made at an ATM that you do not own (a “nonproprietary” ATM) must be made available by the fifth business day.
They’ve modified this a bit and if the ATM can ascertain that it’s a cash transaction (Those nifty new envelopeless and formless ATMs…), it’s supposed to be processed the moment they receive the money in the ATM as if it were a teller transaction because the system knows it just got processable cash. Wells Fargo’s ATMs all do this now (and are treated this way)- and there’s other banks working towards this. Any of the above mentioned deposits are supposed to be treated basically as a cash transaction and are to be made available for use the following day if not sooner and they’re supposed to be “processed” first. PERIOD. If you get zapped by “processing” operations like this article discusses- you should be able to read them the riot act from Regulation CC and get them to undo it all. The main reason they do this sort of crap is because while it’s illegal, most people don’t know their rights and won’t call the banks on the carpet over it.
130 Anonymous
I’m pretty sure Chase’s answer is completely false. It seems that they post checks/withdraws from highest to lowest before processing deposits, ACH or otherwise.
131 Anonymous
While banking at Wells Fargo, inside a safeway store without a drive up window, I nearly went crazy. When I opened the account, they said that to get overrdraft protection, I’d have to open a savings account, with which I could call them anytime to have the funds transfered to checking. Well, I called one day to have them transfer the $ and they said they could no longer do that by phone. I would have to either come in or do it on my computer. I am disabled and on O2 24/7. There is always a long line without seating. So I went online and thought I had done the transfer. The next things that happened was my rent check was returned. I called the bank and they said they could tell I tried to make a transfer but it didn’t go through. How could they tell I tried if it didn’t go through? On my online statement it showed that they had paid the rent check first, and the next day returned it, in order to pay 2 amall checks, charging me $35.00 for each and charged me $5.00 to transfer my money and then another $35.00 for the returned check. The exact amount I ended up overdrawn, was the exact amount of all the charges added up. I don’t bank there now and refuse to pay the fees. I filed a disability complaint that Wells Fargo was made to send me by the Feds. Hip Hip Hooray!
132 Anonymous
I just finished an interesting conversation with BBVA Compass regarding a $38 nsf fee charged on an nonreturned check that was presented to them on Monday, Oct.3. An elctronic deposit for retirement funds from the state of Texas, payable the 1st(Saturday) was received and posted on the 3rd, resulting in a positive bank balance at the time the check was processed. The check that cleared was dated and mailed on Saturday(1st), obviously received on Oct. 3, and presented the 3rd. The explanation,of this transaction being nsf was that by dating the check on the first, I was KITING funds since the wire had not been deposited and even though the check was not presented for payment. The explanation was that the bank always relies on the check date to see if funds were sufficient at the time it was written. The moral of the story is (1) do not write and hold unditributed checks and (2) find a more honest bank.
133 Anonymous
I also have been a victim of BOA’s policy to manipulate the order by which checks are processed. When I spoke to them I stated that I had been a cusotmer for over 30 years (show a little mercy, and beginning with Barnett Bank in 1978) The response? “Well if I have been a bank customer for over 30 years I should have known better” So I am happy that they will answer for their arrogance. Also, I have a young friend who worked for Wachovia, she had a postion that allowed her to grow in the company and had to attend classes. She told me that “This is how banks make their money by manipulating the order by which checks are processed.” She learned that this is their practice. It’s disqusting! Bank officials get their astonomical bonuses and it’s at the expense of the working class who live from paycheck to paycheck.
134 Anonymous
I would not trust any commercial bank. Remember, investment banks are the only banks that work your money–Commercial banks only work you.
135 Anonymous
Ended up with TD Bank by default after my community bank failed. My pension is due and payable on the last day of the month and was always credited that way with the community bank. Not with TD. It does not post until the first. They are literally sitting on billions of free dollars for a day. It’s criminal and by the time the end of the month rolls around, I’m flat broke!
136 Anonymous
After making a deposit of a large cashier check into my bank of america checking account, I waited 4 days to see that it was clear. On the forth day I saw that it was showing that it was clear in my statement online…so thinking it showed up a cleared I spent some of the money…by the end of the day they had taken the amount back out of the account saying the check was no good…well why did they lead me to believe it was good and cleared. I’ll tell you why, so they could get the overdraft of $35 on every withdrawal….I am a low income person…struggling to put food on my table and pay my bills. Now this…I am over draft $950 with no way to recover…what do i do now?
137 Anonymous
I deposited a check with Cadence Bank. I asked them after 7 days if it had gone through because I didn’t trust my ex’s check. They said That it had not been returned I could expect it would not come back. I had 13 overdraft fees( $507.00) when that came back 2 days later. How does a bank hold a check 9 days before returning it. Banks don’t use U.S. mail to transfer from bank to bank. That was ridiculous.
138 Anonymous
I had a whole page of things BOA has done in the past and now my computer is acting up and erased the whole thing. Therefore, I will cut to the punch line and hope my computer allows it. It is my firm belief that we should all revert to burying our money in a Mason jar under the mattress or in a coffee can – if we don’t have a back yard. Face it~we are not making any money off our bank accounts. The banks are making a small fortune on one branch alone. It might even be a good idea to go back to the barter system so we don’t have to worry about checks, etc. Since that is not likely to happen, maybe our bosses should have the bank accounts and take out cash to pay their employees. Then, for those who need to mail off a payment (and who doesn’t?) we can go to the local grocery store’s customer service or the local 7-11 and BUY A MONEY ORDER WITH THE CASH WE HAVE ON HAND. The banks can then do what we do every day of our lives and wonder where the money went! And OMG! how am I going to survive? If they aren’t all too busy scrambling to find another job, maybe it will hit their pea-brain that KARMA just made a delicious withdrawal/deposit for us all. Maybe they will be at the next food bank we go to. Ah-h-h the possibilities are endless.
139 Anonymous
Everybody already knows banks are like politicians, out for only them selves, greedy. Thats why so many people hide their money at home. Am i right? YES!
140 Anonymous
I have an account at PNC bank, my account showed an amount deducted as ACH debit from capital one which I did not authorized and I don’t know who did it, PNC keep sayng the can’t do any thing with ACH debit , please some one advise me what to do, how to get that money back
141 Anonymous
From my experience with PNC of Monroeville, PA. They’re a lot better to talk to if you go into the branch. From what I know from ACH debits, that’s something you set up to be withdrawn. If it’s not call Capital One and ask their customer service.
142 Anonymous
some consumers are unclear about what type of account they have. some businesses unfortunately still operate on the don’t ask don’t tell. but if we ask and you don’t disclose, this will make you liable for those overdrafts and fees. then there are people that are just cheap and don’t realize the benefits of their banking relationship. some good some not so good!!!
143 Anonymous
This applying transactions from higher to lower is “bull”…. Transactions should be processed in the order they come in, period… find me a bank that does that and that will be the bank I do business with.
144 Anonymous
TD (formerly Commerce) Bank will charge an overdraft even if you deposit money before the pending charges become actual charges. I’ve been charged overdraft on items that never actually charged or charged AFTER the deposit. When I inquired about $105 in o/d fees even though my account was not overdrawn their response was: “In the event you do not have the availability of funds in your account to cover all of the items presented that Business Day, a $35.00 overdraft fee may be assessed for each item, as a result of the processing order from highest to lowest. Pending transactions are also considered for the purpose of determining the amount of funds in your account to be used to pay other items presented against your account.”
So whether I cover the pending overdraft or not they still charge!
145 Anonymous
I got once into never-ending loop of overdraft charges with Bank of Scotland. And since they charge £5 a day it’s easy to imagine how difficult is it to stand back on your feet when on low income or unemployed. Starting with a few quids into overdraft you’re owing almost a half grand after just three months. That’s even more expensive than payday loans and provident-like loans.
Generally speaking banks want your money and they don’t care whether you can afford their charges and fees.
146 Anonymous
People are pretty stupid. If you are going to spend money, check and make sure you have money to spend, first. If you have automated withdrawals, make sure your balance IS ALWAYS such that the withdrawl will go through. If you are depositing a check, yes, it will take a day or two to process. If you are depositing at an ATM, it takes the bank time to open your envelope and make sure it actually has the reported amount in it. This isn’t rocket science and you don’t have to be rich to be responsible. I make sure my bank account is weeks ahead of my bills on a little more than $15k/yr. If you choose to live so close to the wire, you deserve every late fee and overdraft charge you get.
147 Anonymous
Most of us don’t wear our checker pants up to our belly buttons or comb our hair to one side. 80% of us live pay check to pay check, so don’t criticize, this is a place to spew and not to let everyone know we make less then $18k a year how sad is that? oh wait that wasn’t nice to say but if you do make that then you deserve every back lash you get! how did that feel? on to the proper subject shall we? we just got back a check from the back stating they took 4 too may over draft fees out after the fact… how do you like them eggs??
I wish they did that more often.
Julie (a real person)
148 Anonymous
Oh you are wrong about Citizen. They post all withdrawn from your account first. After all them go through than they apply your deposits. So they are too a bank that traps you. They have do e it to me 2 already. Its huge B.S… my direct despoits should post first but nope. They post after any debts
149 Anonymous
Just out of curiosity how many posting read the terms and conditions just on this page? How many (being honest I know it is hard) knew you grant Consumerism Commentary an irrevolcable license to use, display, republish, sell, alter, or delete your comment in any way and for any reason? If this company decides to sell this quote for a profit without sharing that information with me I HAVE given consent to do so by the terms and conditions CLEARLY POSTED.
Now…banks operate in the same manner. In just a few short minutes I was able to check the posting orders of some of the banks listed in the comments above by simply going to the websites of those financial institutions. They are in the website! Your job as a consumer is to make sure you know the rules of the financial institution you are dealing with. It is the job of the consumer (you) to know the rules of their bank not the bank to know the rules of the other banks. I’m not saying there are never errors made but you should know your bank operates overall and that information is generally clearly posted on those sites per federal regulation.
Just maaaaybe instead of a few minutes fuming online to strangers we should be more concerned about educating ourselves on how our accounts operate.
150 Anonymous
M and T Bank used to nail me all the time for overdraft fee’s by changing my withdrawal amounts so that the withdrawal largest would negate my previous withdrawals/charges//pending amounts, so that the last or largest was rearranged FIRST to wipe the account about dry and not be able to cover the other costs/charges.
They would do this towards the end of the month, holding/pending charges for up to a week or longer, I would be getting or making a deposit within a day or so, so I might over draft the account in essence to get gas or something I actually NEEDED, they would then pend the deposit, rearrange everything and get me for up to a dozen over drafts, sending out multiple letters, even after the deposit cleared.
I always called this “stacking and “fixing”. I got good at recording this and keeping a record of it, but all to no avail when calling and asking, WHY, due to the fact I had friends with business’s that would say the deduction to my account cleared, days before and they had the cash in hand//their account cleared and available; yet according to my M and T online banking statement//overview it would show totally different totals and deductions and show that one might even still be pending, and then stack that accordingly so as to use it to get an overdraft.
Sorry for my horrid grammar and such, anyways, this has ended for the most part, even though they still stack, fix and pend a lot and rearrange it a lot, I have only had a few overdrafts that amounted to 35-38 dollars and several that were like 10-20.
I have even had cash put in take a few days to clear, when cashing a check drawn on m and t, I would cash the check, have cash in hand, then say, deposit this here and this here, and that cash would be held for up to five days at times.
Now I cash the check, drive around the block and THEN and ONLY THEN deposit the cash.
Only one time have they tried to put it in and hold it and I went into the bank and said I cashed a 3500 dollar check on their bank, then later brought in 1500/2000 to deposit, so why was it considered still the check, and why if drawn on their bank and funds were available, why was it not available to me?
They fixed it as a cash deposit and it was available. Which made it easier for me, but I have waited up to 5 days for cash to clear when they claimed it was relative to the check I cashed perhaps up to an our previous and stopped back in to deposit that cash so as to be avail.
Okay now I’m being redundant, anyways, M and T is now pretty much righteous with me and even though my spouse uses PNC and demands I change, I will stay with M and T.
It’s also my mothers bank, so that is another reason.
Thank you.
151 Anonymous
Add First National BAnk to this list,.. They do the same thing. How can banlks legally get away with this. They also put Payroll Direct Deposit on hold which is against the law. They can not do that this according to the Department of the Treasury but they do it.
152 Anonymous
I’m a Full time college student who works two jobs. I don’t have an extra grand laying around. what i do have is a bank that overs to transfer 25 dollars into my savings from checking at the end of the month. My Savings account will be used for emergencies then incidentals.
153 Anonymous
Today Golden 1 Credit Union in Davis charged my sister a fee and returned checks for their being used out of number sequence. I couldn’t believe it, unless they are used in perfect sequence, they will return checks, charge her a fee and she has to cover charges from the
other bank too. Is this legal? I asked the bank when I went in with her when that practice
came in effect and why she wasn’t notified about the policy. This isn’t the first time that she
has grabbed the wrong box, she suffers from a mental illness and is not the most focused and
organized person. What can we do about this absurdity?
154 Anonymous
I would like to know how they can be sued, so I can get my money returned. That has happened to me several times. And sometimes things were taken out of my account twice !
155 Anonymous
I would like to know how to sue them to get my money back. Region’s Bank will sometimes take money out of your account twice . and is always doing what this post is talking about. And for the person who thinks a person is living over thier means if this has ever happened to them must have never been mac n cheese broke. Because you DO NOT have to be living above your means for the banks to take your money !
156 Anonymous
Chase, who took over Washington Mutual, posts the LARGEST debit against the balance first, causing the biggest deduction to the account, then posts the smaller ones, which then can get charged $34 per overdraft fee. The logic to this is that they’re doing you a favor. This is their explanation: the larger amount is paid first, which can be your mortgage payment, then they pay the smaller amount second, which can be your electric bill. Wouldn’t you prefer to have your mortgage payment paid rather than the electric? About the most illogical excuse for a money grab I ever heard. Let’s consider that they’ve most likely paid all of them. Then that premise holds no water. And let’s consider that if they’re not paying them all, then you would want your electric to stay on, and not pay the OD fee on that amount, and the mortgage payment would be the only payment incurring the OD fee. By their policy, you have the next day to cover the negative balance before they reject your mortgage payment, so once you cover it, your mortgage pyment (the largest amount) would be paid anyway. So as example, they post $200, $20, $20 against a $187 balance causing 3 -$34 OD charges, because they’re doing you a favor.
157 Anonymous
The most important factor is that it is our money, the banks are making a huge profit on. Why should it cost more for us to use our money. It is unsafe to put in banks as they are thiefs, it is unsafe to keep at home as it could get stolen. So what do you do. Yes people are working harder, making less and cannot afford to put gas in the car much less save for a rainy day. So these who think it is easy to save if you have extra money, then go to the local banks ask them to put in $1000 to the 10 poorest accounts in the bank. These loud mouth opinionated people need to put their money where their mouth is and help others who are less fortunate. Many people are in situations not of their own accord, but due to family issues, declining health, inheriting family members that was not their calling but stepped up to the plate, and just the lousy economics in America, and job loss. Banks need to remember their customers are the reason they have a job and learn customer service. It is our money in that bank. Put in deposits immediately, then deduct the ATMs, withdrawals, checks, etc in the order that makes the most for the customer and not the banks own bleeding hearts. If I won the lottery I would start my own bank and uses morals, values and God’s principals to help with banking that was in the best interest to the banker whose money is my responsibility in my bank, and I would be a good steward of that responsibility.
159 Anonymous
what about a bank that charges you overdraft fees because you have a pending item that took you under your available balance…this is what happened to me recently with Regions…
I had technically had money in my account to cover everything until March 30th, then a charge for 99.99 was charged and was pending, Regions charged me 5 overdraft charges because they post largest to smallest, right? so being my PENDING (not yet posted) item made my available balance in the red, even tho the 99.99 wasn’t posted until April 1, and the other 5 charges came out of pending and where posted on March 30th, they charged me 5 overdraft charges… $180 bucks… so my ledger looks funny as you may think…it looks like i had money to cover all my charges, i had a balance of $11 and some change…then a charge for $180 in overdraft charges all posted on March 30th, then on April 1st (2 days later) the 99.99 posted and another $36 NSF fee applied…this has to be illegal for them to do… it just isn’t making any sense to me at all how they do there accounting lol, needless to say i am going to the bank in the morning and speaking with someone about this… ok they POST largest to smallest… that charge didn’t post till April 1st, it was still pending, so how can they charge me 5 NSF fees on stuff that actually posted on March 30th…this is rediculus
160 Anonymous
I have experienced with a lot of bank and the worst bank that I have is Wells Fargo, I used my debit card like 7 pm and then 2 checks came at night for clearing same day , when i used my debit card I still have sufficient balance, when my 2 checks came nite the ff day they charge me for 2 overdraft ( I have $200+ check and one $2,600+ check , I was overdrawn by $500 but they still charge me for two overdrawn , then after a day they charge me for using my debit card , but I used my debit card before the check came and I was overdrawn by one check only , $105 for 1 day imagine how they killing us. Debit card shld be deducted right away , how come they can do that ? Where can we seek help to stop this Wells Fargo’s activities and to file a class action law suits. I will close my account once all my postdated check for my vendors were paid. Please don’t open an account with this bank so you will not be a victim.
161 Anonymous
I did a transfer and my bank time stamped the transaction for 4 hours ahead. This caused several overdrafts. When I called and asked the teller he said anything I put into the atm after 7 pm gets counted the next day. I explained that I put the money in before 5 he says it shows up as an atm deposit. Innever left my house. It’s funny because the transfer showed up right away but the time stamp made it appear that I put it in later. What can I do because this is robbery. I also have screen shots of my transactions because I need to document all my transactions. I don’t trust them. Please tell me who I should contact. Thank you in advance.
162 Anonymous
If you don’t have $500-$1,000 as savings, you have failed at life. I am 27 years old and make $73,000 a year – paid for college myself, graduated with no debts, and live within my means. I do not buy frivolous things and instead invest my money into things like education, mutual funds, stocks, etc. I do not buy items like brand new televisions or new cars as these items rapidly depreciate.
If you work hard, save you money, and invest it you can easily make a $1,000 cushion – that’s saving $20 a week. Even a person that has a full time job making $10 an hour should be able to do that.
Also, if you can’t feed ’em, don’t breed ’em – meaning if you can’t afford kids, don’t have them. I don’t have children yet because at $70k a year a college education for my child plus my own living expenses would be unaffordable and affect the child’s future.
164 Steve
Wells Fargo is the absolutely worst! They do everything possible to charge you fees. They don’t give a s**t about customers. Withdraws and debits are always processed first, so you get screwed over with NSF’s and overdrafts should a payment go out the same day.
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165 Anon e mouse
Interesting . Wells Fargo. So back in probly 2002 or 2003ish I had an account with wells Fargo. I was being very good and diligent about updating and balancing my checkbook properly and was on point. It’s Xmas and I owe my friend money and she needs it to buy a train ticket to visit her family. So I get cash back on a purchase to pay her back, knowing I’m going to incur ONE OVERDRAFT FEE for this and willing to accept so she can see her family since I owed her money.
Then I see I have 5 overdraft fees on little $5 purchases.
I called the bank and argued with them.
They explained that all the transactions came in on the same day due to holidays . And that they always pay the highest items first in case it’s our rent or something. I said bounce my rent check then. Don’t pay it and then charge me $35 5 times.
I said so basically my check register means absolutely nothing and you’re just going to arrange things in your favor to get money out of us. I even asked for a person above them or a Complaint dept just to tell them I think it’s shady. Then I closed my acct.
When they made a law that didn’t allow banks to pay an item and charge $35 every time anymore, I had the bank I was with which might’ve been Bofa, harassing me constantly because if you wanted that option you could if you opt in for it. Did I want to opt in? They kept trying to convince me I wanted to. Hell no stop trying to get around the law which was created to stop that bullshit.
Patelco is just a wolf in sheep’s clothing and is no different than any bank really. Sometimes they’d honor something if it was off by a few cents. Another time they didn’t. I had made a deposit just to cover a carsharing reservation . I was literally off by a penny. They declined the transaction even though a recent deposit had been made for pretty much the same amount. Which resulted in my account with the car sharing company to be punished and restricted from certain amenities. Then months later after no deposits or activity in my account, they honored a $300 check that I had to give to a check cashing place for a payday loan. Which should have bounced and then I make payment arrangements with the payday loan company. But no, they honored it!! And sent me a nasty letter about my irresponsible banking behaviour. I’m sorry I briefly worked at bank of the west and had we looked at the acct prior to processing a check as we had to do in order to be sure funds were available, and saw no recent deposits or any activity for 6 months we would have declined that check. period. Had we seen a recent deposit for a very similar amount we would accept it. I went in to patelco and asked what their guidelines are they follow on paying an item or not and I was told they don’t have any. The only one who made any irresponsible banking actions was patelco themselves for honoring a check for an account with no money or activity in it for almost 6 months. They then closed my account before I could. Leading me to believe I could close it myself. Thus allowing themselves to have the last word AND damage my credit even though THEY fucked up. There was no reason whatsoever for them to honor that check. It was just a check I had to leave as collateral for a payday loan and I was going to pay it in person in cash at the payday loan store.but I got delayed and was unable to make it before they closed on the due date and they submitted the check to my bank. I expected it to be declined since they declined the last time even when I was only a penny short. I was surprised that they paid the check. It didn’t make sense .
Now for the past 7+ years I have had a netspend acct with ace cash express and it acts like a bank account without all the bullshit. I pay $5 a month so I don’t get a 50 cent fee on all transactions. My paychecks are direct deposited every payday and I use my card for purchase and until recently WA able to rent a car at enterprise and carsharing companies like zipcar.
It is THE BEST BANK ACCOUNT I HAVE EVER HAD. and I’ve had accts at bank of America Bank of the west , us Bank, patelco and they have ALL been guilty of screwing me out of hundreds of dollars in fees. They are the worst entity to have your account info. They just help themselves to your money whenever they want. They rearrange your transactions to get themselves money in fees.
My netspend account has not done that to me. I get a $10 cushion each month and don’t get charged fees for using it. It really is the best account I’ve ever had. But now I’m forced to go back to a bank. Because nobody will accept my “prepaid” card . If that’s the case then all banks are prepaid card accounts. I’ll be doing the exact same thing with a regular Bank I just unfortunately will have to deal with bank drama and their schemes to gouge me. Because I’m tired of being denied using uber or renting a car and other services. I’m heartbroken and angry because my netspend account has been the best account I’ve ever had. Banks should emulate their system. I don’t get overdraft fees cuz they’ll decline it after the cushion has been depleted..no fees. I only pay $5 a month for it.
I’m gonna try golden 1 but I don’t trust them . I’m only going to deposit money into it when I need to use it for something specific.
In case anyone cared tp read my long ass rant. Lol.
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Generals wear stars on their uniforms. What insignia do colonels wear? | 3 Ways to Properly Align Rank Insignia on Marine Uniforms
Aligning Rank Insignia for Enlisted Marines
1
Choose a uniform. Enlisted marines are required to wear different uniforms, depending on the occasion. Generally speaking, there are three “types” of uniforms worn by enlisted marines. The field, utility or combat uniform is worn during active operations. The dress or blue dress uniforms are worn to formal occasions. Finally, the service uniforms are worn much like business suits, for military inquiries, appearances in court, meetings with officers, etc. [1]
2
Know your chevrons. Chevrons, which signify an enlisted marine’s rank, are worn on the sleeves and collars of all dress and service uniforms. While wearing utility or combat uniforms, enlisted marines only wear small, black chevrons that pin to the collars of their uniforms. [2]
The sleeve chevrons are stitched to the dress and service uniforms, so this article will deal exclusively with how to attach collar chevrons.
3
Point the chevrons up. An enlisted marine’s chevrons should always be positioned with the tip pointed up. Chevrons come in different sizes, depending on the rank of the marine, but are always placed on the collar with the points up. [3]
4
Position the chevrons. The bottom edge of the insignia (no matter what rank) will be 1⁄2 inch (1.3 cm) from the side of the collar on both sides. Thus, a sergeant major's chevrons will protrude higher up than a PFC, because it is much taller. [4]
5
Attach. Chevrons for enlisted persons attach to the collar with a built in pin. Remove the backing from the pin, push the pin through the front of the cloth on the collar, and reattach the backing on the underside of the collar. [5]
Method
Aligning Rank Insignia for Warrant Officers
1
Know your rank insignia. Warrant officers don’t wear chevrons on the collar. Instead, they wear a rectangular pin whose colors alternate between red and silver or red and gold, depending on the rank. These pins are worn on both the left and right collar. [6]
2
Position the pin lengthwise. A warrant officer’s rank insignia should always be positioned lengthwise, with the longer portion being positioned horizontally. Regardless of rank, warrant officer pins are the same size. [7]
3
Align the pin. The bottom edge of the insignia (no matter what rank) will be centered from the side of the collar on both sides. The rank insignia for warrant officers is positioned vertically 1 inch above the bottom of the collar. [8]
4
Attach. Rank insignia for warrant officers attach to the collar with a built in pin. Remove the backing from the pin, push the pin through the front of the cloth on the collar, and reattach the backing on the underside of the collar. [9]
Method
Aligning Rank Insignia for Commissioned Officers
1
Align generals’ stars. Generals in the USMC wear stars of gold and silver to represent rank. Generals' stars will have a single tip pointing up, centered vertically, 1/2 an inch from the sides and one inch from the bottom, on both collars. [10]
On service uniforms, the stars are attached to a general’s epaulets and shirt collar. [11]
On dress uniforms, generals wear their stars on the epaulets and an insignia of an eagle on top of a globe, with an anchor running through it, on their jacket collars. To position the eagle/globe logo, position the insignia so that the eagle is vertically upright, and the head of the anchor is facing inwards towards the neck. Attach this insignia 1/2 an inch from the side and 1 inch from the bottom of the collar. [12]
2
Align the oak leaves. Lt. Colonels and Majors will wear oak leaves of varying colors as a sign of rank. Always center the oak leaves on the collar, with the stem pointing downward. Like with other rank insignia, the oak leaves need to be position 1/2 an inch from the sides and 1 inch up from the bottom of the collar. [13]
3
Position and attach the bars. Captains and Lieutenants wear bars on their collars to represent their respective ranks. Center the bars 1/2 inch from the sides of the collar. Position the bars 1 inch above the bottom of the collar and attach. [14]
4
Attach colonels’ eagles. Colonels will wear their eagles with the wings perpendicular to the deck and looking inboard (towards the neck). Attach this pin 1 inch from the bottom of the collar and 1/2 an inch from the sides on the dress jacket collar. [15]
5
Attach chevrons to utility uniforms. When in combat or in the field, commissioned officers are not required to wear any sign of their rank on their uniforms. However, they may choose to signify their rank wearing small chevrons on the collar. These are attached in the same way as on enlisted marine uniforms. [16]
To avoid standing out and making themselves a target in the field, officers often choose to wear black or brown “subdued” chevrons rather than shiny gold or silver ones.
Community Q&A
| Eagle |
Published in 1957, On The Road is a famous novel by which American beat poet, who was born on March 12, 1922? | 4103 - Shoulder Insignia
4103 - Shoulder Insignia
1. Description. Consists of hard shoulder boards, soft shoulder boards, and metal grade insignia.
2. Hard Shoulder Boards. Combination insignia indicating wearer's grade and line or staff corps are curved to fit the shoulder and secured at their inner ends by a Navy eagle, gilt button. Officers wear hard shoulder boards on reefers, overcoats, and designated uniforms. Women wear men's shoulder boards when wearing the men's reefer and women's shoulder boards when wearing the women's reefer.
a. Flag Officers (Line). The surface is covered with gold lace showing a 1/8 inch blue cloth margin on each of the long sides. A silver embroidered fouled anchor is placed with its center line along the shoulder board's longer dimension and the crown pointing toward the squared end of the board. The unfouled arm of the stock points to the front of the wearer (right and left). Designation of grade consists of silver embroidered five-pointed star(s), placed between the crown of the anchor and the squared end of the shoulder board.
b. Flag Officer (Staff Corps). The shoulder marks are the same as those described in subparagraph a., above, with an appropriate corps device, of the same size as that prescribed for wear on the shirt collar, superimposed on the anchor's shank.
| i don't know |
According to the proverb, March comes in like a lion and goes out like what? | The Truth Behind "In Like A Lion, Out Like a Lamb" - Farmers' Almanac
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If March comes in like a lion, it will go out like a lamb.
Is there any truth to this saying? Weather sayings are as colorful as our imagination. While many sayings are based on careful observations and turn out to be accurate, others are merely rhymes or beliefs of the people who came before us.
Those people often believed that bad spirits could affect the weather adversely, so they were cautious as to what they did or did not do in certain situations. Those beliefs often included ideas that there should be a balance in weather and life. So, if a month came in bad (like a lion), it should go out good and calm (like a lamb).
With March being such a changeable month, in which we can see warm spring-like temperatures or late-season snowstorms, you can understand how this saying might hold true in some instances. We can only hope that if March starts off cold and stormy it will end warm and sunny, but the key word is hope. However, this saying seems be to more of a rhyme rather than a true weather predictor.
Some other March-related lore includes:
A dry March and a wet May? Fill barns and bays with corn and hay.
As it rains in March so it rains in June.
March winds and April showers? Bring forth May flowers.
| L.A.M.B. |
March 6, 1899, saw German pharmaceutical giant Bayer, patent aspirin. The bark of what tree was used to make it? | Wisconsin Weather Stories
by Mary Kornely, Denmark Elementary School, Denmark, Wisconsin
Introduction
Weather has always played an important part of everyday life. Long before modern meteorology and weather forecasting, people found ways to predict the weather. Much of this was done through catchy phrases or poems that were easy to remember. Many of the weather sayings that developed from observations were focussed around farmers and sailors because of their direct ties to nature. This lesson looks at popular Wisconsin weather sayings.
Focus Questions
What are some weather sayings (proverbs) that people in Wisconsin use?
What are the scientific connections between these proverbs and meteorology?
Learning Objectives
To understand that weather sayings are a part of daily life.
To understand that weather sayings have a cultural link to a community.
Language Arts:
Flies will swarm before a storm.
When a rain storm is coming:
dandelions close their blooms tightly,
morning glories tuck in their blooms as if ready for a long nap,
clover folds up its leaves,
leaves on many trees rollup or show their underside,
When leaves show their underside, be sure that rain betide.
No dew at night, rain by morning. No dew at morning, rain by next day.
April showers bring May flowers.
March comes in like a lamb and goes out like a lion. (Or March comes in like a lion and goes out like a lamb.
Ring around the sun, time for fun. Ring around the moon, storm coming soon.
Snow like cotton, soon forgotten. Snow like meal, will give a great deal.
Evening red and morning gray, send a traveler on his way. Evening gray and morning red, brings the rain upon his head.
The sky is red, the devil is dead, it's going to be good tomorrow.
Ice in November to bury a duck, the rest of the winter is slush and muck.
The following are scientific explanations for some of the Weather Sayings. Many can be explained through modern technology, some are steeped in local lore yet seem to, for unknown reasons, be somewhat correct.
"Red sky in the morning sailors (farmer) take warning."
This refers to the rising sun reflecting off of western clouds that are bringing rain.
"Red sky at night, sailors (farmers) delight."
This refers to the setting sun being visible and reflecting off of eastern clouds that have already passed on.
"When the glass is low on a ship, the sailors get ready for a storm."
"When your joints hurt, a storm is coming."
Both of these sayings are in reference to low air pressure, which brings in storms. When the glass is low sailors know to prepare for bad weather and seek a safe harbor. It is also common knowledge that low pressure and dampness will cause arthritic joints to ache.
Any reference to cow or horse tails in the sky is a reference to cirrus (change of weather) clouds.
Dew indicates a fair tomorrow.
Suggested Activities
Have each student choose one or several Weather Sayings and attempt to explain them using prior knowledge skills.
Research each Weather Saying for scientific principles.
Using available metrological data track #1 and #2; #10; #11.
Challenge the students to collect more weather sayings and make a booklet, poster, or illustrate.
Keep a weather journal.
Write Weather Sayings poetry or riddles.
Graph daily weather over a period of time and relate this data to Weather Sayings.
Further Resources
Weather Proverbs: True or False? examines the scientific basis behind seven weather proverbs.
Folklore Weather Forecasting includes weather proverbs of many types and suggested activities for studying them with a class.
Standards and Benchmarks
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March 9, 1959 saw the introduction of the Barbie doll at the American International Toy Fair in New York. What company produces the Barbie doll? | Barbie (Doll) - The New York Times
The New York Times
Supported by
Barbie (Doll)
News about Barbie (Doll), including commentary and archival articles published in The New York Times. More
By Yona Zeldis McDonough
Overview
Barbie, the single most successful doll ever produced, was the invention of Ruth Handler, one of the founders of the fledgling toy and novelty company, Mattel.
The petite plastic doll, named after her daughter, Barbara, made its debut on March 9, 1959 at the American International Toy Fair in New York City. For the occasion, Barbie wore a black and white striped bathing suit, shoes and sunglasses. Her price was $3, a modest sum even then. A handful of outfits was displayed alongside her, costing between $1 and $3.
At least half of the Toy Fair buyers wanted nothing to do with Barbie. There was the body, for starters, with breasts, a small waist and long legs. Then there was her expression: sullen, knowing and strangely covert. Her eyes were thickly rimmed with dark eyeliner; her lips, a candy-apple red.
Despite the initial coolness of her reception at the Toy Fair, Barbie was flying off the shelves by the summer of 1959, and stores could not keep Barbie in stock.
In her rich and varied existence, Barbie has had stints as a model, astronaut, paleontologist, Air Force jet pilot, surgeon, NASCAR driver and a rap artist. She has sung on the Grand Ole Opry, played basketball with the WNBA and run for president three times. Mattel recently conducted an online vote, asking people to select Barbie’s 125th career: Computer engineer was the winning choice.
Barbie has morphed into a legend and an icon. For Barbie is both mirror and model, reflection and avatar.
Read More...
A Star Is Born
Barbie was born during the golden age of American post-World War II prosperity with its lushly saturated Technicolor movies, tidy new suburbs and cars as large as beached whales.
In the early 1950s, Mrs. Handler got the idea of creating an adult doll after observing her daughter’s fascination with adult paper dolls, whose clothing she was able to change.
Mrs. Handler envisioned a doll onto which girls could project their desire to act like, and indeed become, grown women. But the designers at Mattel initially balked, saying the level of detail that she wanted would make the doll prohibitively expensive.
“That was the official reason,” Mrs. Handler recalled in the 1994 book, “Dream Doll: The Ruth Handler Story,” which she co-wrote with Jacqueline Shannon. “But I really think the squeamishness of those designers — every single one of them male — stemmed mostly from the fact that the doll would have breasts.”
Mrs. Handler’s idea got a jump start when her family traveled to Lucerne, Switzerland, and came across a shop window with 11-inch adult style dolls, all with identical faces but each wearing a different ski outfit. The object, familiar to German-speaking Europeans, was known as the Bild Lili, a blonde, pony-tailed character that appeared regularly in a comic strip published in the German newspaper Bild Zeitung. Unable to buy Bild Lili outfits separately, Mrs. Handler bought two of the dolls, and another one the next day in Vienna.
Mrs. Handler grasped the importance of separating the dolls from the outfits, and the doll plus outfits equation would become an essential part of the larger Barbie calculus.
In 1957, Mrs. Handler was able to persuade Mattel designers to produce a prototype.
The Business of Barbie
Eight months after Barbie’s debut at the Toy Fair, Mrs. Handler was, according to the Los Angeles Times, driving a pink Thunderbird and running a half-million-dollar business.
Barbie sales continued strong throughout the early 1960s; her clothing, her accoutrements, and her Dream House adding to skyrocketing success. In 1961, Mattel brought out the ultimate Barbie accessory: Ken, Barbie’s square-jawed, crew-cut sporting steady beau named for Mrs. Handler’s son.
In the late 1960s, with the women’s liberation movement, Barbie seemed out of step with the new social reality and faltered a bit. By 1971, the National Organization for Women had launched a full frontal assault on Barbie, condemning Mattel, as well as several other companies, for sexist advertising.
But that was the least of Mattel’s troubles. After a period of diversification — the company began manufacturing hamster cages, aquariums and pet supplies — the toy behemoth experienced a downturn, showing losses in quarter after quarter. Stock prices tumbled and in 1973, Mrs. Handler was forced to resign as president.
But in 1981, Jill Barad, a wunderkind executive at Coty Cosmetics, came on board. By the time she was made chief executive officer of Mattel in 1992, Barbie had returned to the limelight. As M. G. Lord, the author of the book, “Forever Barbie,” put it, the doll was clearly “positioned as a career woman who knew what it took to achieve in the business world.”
The Barbie Backlash
There has always been a Barbie backlash; mothers who refused to buy her, women who actively bashed her. Journalist-turned-novelist Anna Quindlen fantasized about driving a “silver lamé stake” through Barbie’s plastic heart; Pulitzer-prize winning novelist Carol Shields said Barbie’s expression, with “its dumb shine of self-absorption, its trippingly tartish look of one who is out for all she can get,” is “eerily disturbing.”
Barbie has been held responsible for eating disorders and charged with offering girls a wholly unrealistic body image. A typical Barbie doll is 11.5 inches, which, at a 1/6 scale, would make her 5 feet 9 inches tall. Her vital statistics have been estimated at 36 inches (bust), 18 inches (waist) and 33 inches (hips). According to a study by the University Central Hospital in Helsinki, Finland, she would lack the 17 to 22 percent body fat required for a woman to menstruate. Slumber Party Barbie, who made her debut in 1965, came with a book entitled “How to Lose Weight” — one of its more succinct but pertinent tips was “Don’t Eat.”
Mattel has said that Barbie’s waist was originally made so tiny because the waistbands of clothes that she wore, with their seams, snaps, and zippers, added bulk to her figure.
In 1998, Mattel introduced Really Rad Barbie, a doll whose waist was wider and bust smaller, thus reflecting a more “real” female body type.
Barbie and Race
The Barbie clan began its life as white and remained so until 1967, when “Colored Francie” made her debut. But this Francie doll was produced using the existing head molds for the white Francie, and, other than her dark skin, lacked any other distinguishing African features. The first African American doll in the Barbie circle is usually regarded as Christie, who appeared in 1968. It wasn’t until 1980 that actual black and Hispanic Barbie dolls hit the market. Yet despite Mattel’s attempt to take a more racially sensitive stance, Ann Ducille, professor of American and African-American literature at the University of California, San Diego, contends that “white Barbie dolls (are) the norm. Black Barbie is toyland’s ‘but also’ just as black people are society’s ‘but also.’” Professor DuCille quotes a black mother who said that although her daughter played with a black Barbie, she still asked for “the real Barbie.”
In 1967, Mattel and Nabisco embarked on a cross-promotion of Barbie and Oreo cookies. Oreo Fun Barbie offered girls the chance to play while sharing “America’s favorite cookie.” As had become the norm, Mattel manufactured both a white and black version of the doll, apparently unaware that in the African American community “Oreo” has long been a derogatory term for a person who is “black on the outside and white on the inside,” like the chocolate sandwich cookie itself. Black critics took the doll to task and she did very poorly in the marketplace; Mattel recalled the unsold stock, making it highly prized by collectors.
Enduring Barbie
Part of Barbie’s power is the kind of projection she invites. “I designed Barbie with a blank face so that the child could project her own dreams of the future onto Barbie,” Handler said in her book, “Dream Doll.” “I never wanted to play up the glamorous life of Barbie. I wanted the owner to create a personality for the doll.” Even the talking Barbies that appeared on the market never enjoyed the ascendancy that the mute, yet eloquent dolls did.
Barbie was both a child of her time and completely cutting edge. As the historian and author Stephanie Coontz has written, “the marketability of toys like Barbie…was a logical though ironic extension of 1950s gender roles, marital norms and consumerist values.” Early outfits produced by Mattel had names like Theatre Date, Movie Date, Party Date, Friday Nite Date and Sorority Meeting, all of which suggest that Barbie was not about to challenge anyone’s idea of traditional femininity. But what about Tennis Anyone, Ski Queen, Icebreaker, Career Girl and Graduation, which were outfits sold in 1962? Such names had the spark of an alternative narrative; clearly there was something beyond dating on Barbie agenda.
Family of Barbie
Barbie has younger sisters (Skipper, Stacie, Kelly, Krissy, the short-lived twins, Tutti and Todd), cousins (Francie and Jazzie), friends (Midge, Miko, Whitney, Nikki, Devon, Kira, to name a few) and of course, the steadfast Ken. But her parents played a minimal — and totally off-stage — role; no parent dolls were ever produced. She is an agent on her own behalf, a singular sensation, living her own life, forging her own destiny. In all the scenarios in which she has played, the one role Barbie never took on was that of wife, even though Mattel has made numerous bridal ensembles for her. Ken, for all his virile good looks and affable charm, really is an accessory.
Indeed, Mattel announced on Feb. 12, 2010, that Barbie and Ken, sweethearts for 43 years, are splitting up. According to the press release, the pair had grown apart and “needed some time alone” though “they would remain friends.” Whether the split is real or a publicity stunt to spark interest in the doll remains to be seen. But one thing is certain: to those in the know, Barbie’s main act was, is and will always be solo.
World of Barbie
Through computer animation, Barbie has become the star of several feature films, including “Barbie in the Nutcracker,” “Barbie as Rapunzel,” “Barbie of Swan Lake” and “Barbie as the Princess and the Pauper.” And she has staked her claim on the Web with the popular Make Up Barbie Game, which allows girls to alter her hair, makeup and overall look.
In the late 1990s, computer technology boomed, and in 1996, Mattel launched www.barbie.com , the official Barbie website. In 1998, “My Design” was introduced on the site, allowing girls and collectors to decide what their Barbie doll friend would look like by choosing her hair/eye/makeup colors, fashion, accessories, and personality traits.
And Barbie’s reach has extended still further, to the vast sub-cult of adult Barbie worshippers, those grownups who collect, display, buy, sell and for whom the words “mint in box” have a freighted significance. Today, Barbie Collector has a website all its own, www.barbiecollector.com . The collector line now even has a dedicated online store at www.barbiecollectiblesstore.com.
Mattel estimates that there are more than 100,000 active Barbie collectors, 90 percent of whom are women with an average age of 40. Forty-five percent of them spend more than $1,000 a year on their dolls. Vintage Barbie dolls are the most valuable: a mint-in-box from 1959 sold for $3,552.50 on eBay in October 2004. (It originally sold for $3.)
The highest price so far to be paid for a Barbie was at a Christie’s auction in London on Sept. 25, 2006. This was a 1965 Barbie dressed in Midnight Red, which had been part of a private collection of 4,000 Barbie dolls. The Barbie was sold for 9,000 sterling pounds (U.S. $17,000). She was sold by two Dutch women, Letje Raebel and her daughter, Marina.
| Mattel |
McDonalds recently lost its spot as worlds largest restaurant chain (based on number of stores) to which company? | 1000+ images about Barbie Through The Years on Pinterest | Golden anniversary, Lifestyle and Vintage barbie
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1959 Barbie debuted at New York's American International Toy Fair on March 9, 1959. First year sales topped 300,000 for the original $3 doll. Today, a mint condition 1959 Barbie is worth $27,450. Ruth Handler, the free-spirited woman who created Barbie, faced strong opposition to Barbie from within her own company. Barbie was originally modeled on a German doll marketed as an adult sex toy. Still, Mattel made a risky, unprecedented bet by heavily advertising on television shows like "The…
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March 6, 1836 saw the death, in one day, of Jim Bowie, David Crockett, William B. Travis, and 112 others, at what event? | Michael Lind's, The Death of David Crockett
The Death of David Crockett
By Michael Lind
~ORIGINALLY PUBLISHED IN THE WILSON QUARTERLY ~
Before sunrise on March 6, 1836, the most famous siege in American history came to an end. More than a thousand troops under the command of General Antonio López de Santa Anna, the military dictator of Mexico, stormed the Alamo fortress in San Antonio, where Texan rebels against Mexican authority�Anglo-American settlers, Tejano natives, and soldiers of fortune from the United States and Europe�had been waiting for reinforcements that never came. All of the defenders�roughly 180 or more�were killed in battle or executed soon afterward.
News of the fall of the Alamo sent shock waves far beyond war-torn Texas, where secessionists had just declared the independence of their republic. Among the fallen defenders were two celebrities from the United States. The knifefighter James Bowie was one. But his renown was overshadowed by that of David Crockett, the "congressman from the canebrake" of Tennessee who had replaced Daniel Boone as a symbol of the American frontiersman. After being defeated in a race for Congress, Crockett�whom the Whig party had once considered as a possible presidential candidate�had made his way to insurgent Texas to make a fresh start. A fellow graduate of Tennessee politics, Sam Houston, commander of the weak and disorganized Texan army, had assigned Crockett to the garrison at San Antonio. There, with Bowie and less known figures such as the garrison's young commander, William Barret Travis, Crockett met his death.
In the legend that grew up around Crockett, he died fighting in the last-ditch defense of the Alamo. Recent scholarship, however, has suggested another possibility: that Crockett was executed by Santa Anna along with several others after the battle was over. I discovered just how controversial this question remains when I published The Alamo, a narrative poem about the Texas Revolution. In my first draft, I followed some recent historical accounts of the Texas Revolution that treat Crockett's execution at the hands of Santa Anna as an established fact. As I researched the subject further, however, I concluded that the story of Crockett's execution, like the equally well-known story of the line Travis drew in the dust at the Alamo, was folklore. In the final version of the poem, Travis does not draw that line, and Crockett, a minor character in the story I tell, falls in battle. In a vituperative attack on The Alamoin the New York Times, the journalist Garry Wills accused me (along with Wills's bête noire, the late John Wayne, in his movie The Alamo) of purveying patriotic "hokum" to the American public by showing Crockett being killed in battle. The ensuing debate has involved several exchanges in print between Wills and my fellow Texan, CBS news anchor Dan Rather.
What this unexpected controversy revealed is that the death of Colonel David Crockett�or "Davy Crockett," as he became known in 19th-century almanacs and 20th-century pop culture�is a contested front in the late-20th-century American culture war. To understand why, we have to go back to the 1950s, when Walt Disney's TV series starring Fess Parker elevated "Davy Crockett, King of the Wild Frontier" into the American hero. Crockett's mythic status was enhanced even further when John Wayne portrayed him in The Alamo (1960).
Generational politics explains the controversy surrounding a purported 1836 memoir by a Mexican officer present at the battle, José Enrique de la Peña. (Because the memoir incorporates material that de la Peñ a could only have acquired later, it must have been completed after 1836.) In 1955 a Mexican antiquarian and book-seller named Jesñs Sánchez Garza published La Rebelión de Texas in Mexico City. The manuscript was acquired by a Texas philanthropist, John Peace, for his John Peace Memorial Library, at the University of Texas at San Antonio. In 1974, Peace gave his permission for Carmen Perry to undertake a translation, which was published in 1975 by Texas A&M Press as With Santa Anna in Texas: A Personal Narrative of the Revolution.Here is the memoir's account of Crockett's death:
Some seven men had survived the general carnage and, under the protection of General Castrillon, they were brought before Santa Anna. Among them was one of great stature, well proportioned, with regular features, in whose face there was the imprint of adversity, but in whom one also noticed a degree of resignation and nobility that did him honor. He was the naturalist David Crockett, well known in North America for his unusual adventures, who had undertaken to explore the country and who, finding himself in Bejar at the very moment of surprise, had taken refuge in the Alamo, fearing that his status as a foreigner might not be respected. Santa Anna answered Castrillon's intervention in Crockett's behalf with a gesture of indignation and, addressing himself to the sappers, the troops closest to him, ordered his execution. The commanders and officers were outraged at this action and did not support the order, hoping that once the fury of the moment had blown over these men would be spared; but several officers who were around the president and who, perhaps, had not been present during the moment of danger, became noteworthy by an infamous deed, surpassing the soldiers in cruelty. They thrust themselves forward, in order to flatter their commander, and with swords in hand, fell upon these unfortunate, defenseless men just as a tiger leaps upon his prey. Though tortured before they were killed, these unfortunates died without complaining and without humiliating themselves before their torturers. It was rumored that General Santa Anna was one of them; I will not bear witness to this, for, though present, I turned away horrified in order not to witness such a barbarous scene.
Appearing as it did immediately after the Vietnam War and Watergate, the translation of the de la Peña book was seized upon by certain scholars and some in the media who sought to prove that the childhood hero of coonskin cap-wearing baby boomers was a fraud. Others vilified anyone unpatriotic enough to question the traditional account of Crockett's heroic death. The emotions that the subject arouses clearly have had less to do with Crockett or the distant Texas Revolution than with attitudes toward American history, patriotism, and the military at the end of the 20th century.
The controversy over how David Crockett died raises a profound question: how can we be certain of anything in history? Where there is no corroborating physical evidence�as in the case of the suicide of Cleopatra�historians must rely on reports from the time. In two millennia, nobody has ever suggested that Cleopatra survived following her disastrous defeat at the Battle of Actium, or that anyone murdered her.
Similarly, no one disputes the fact that a handful of Texan prisoners were executed at Santa Anna's order after the fall of the Alamo. When it comes to the question of whether Crockett was one of them, however, there have always been conflicting accounts�something that is hardly surprising, in the case of a battle in a western frontier town in the early 19th century. The conflicting reports have been explained in two ways. The corroboration theory holds that all of the accounts of Crockett's execution reflect a real event; any differences among them can be attributed to confusion and the vagaries of memory. The fact that eyewitness accounts of a traffic accident differ in small details does not prove that the traffic accident never occurred. The contamination theory holds that the story of Crockett's execution was an erroneous rumor, which made its way into Texan and American newspapers and thence into memoirs written later by both North Americans and Mexicans. Like a modern computer virus, the apocryphal story of Crockett's execution infected an ever-growing number of documents over time.
Exhibit A for the corroboration theory, of course, is the de la Peña memoir. The matter is settled, once and for all, if the memoir is the work of de la Peña, and if de la Peña was telling the truth, and if he knew who David Crockett was. Skeptics have questioned all three of these assumptions. On the basis of internal inconsistencies and the lack of a chain of provenance, Bill Groneman, a lay historian and expert on the battle of the Alamo, has flatly claimed that the de la Peña memoir is a hoax. Such a claim is not as extreme as it may appear, given the number of forged documents from the Texas Revolution that have fetched high prices from Texas collectors (to say nothing of other celebrated forgeries, such as the Hitler diaries and the alleged Kennedy letters). But the case for the manuscript's authenticity arguably was strengthened by the 1994 discovery, by historian James E. Crisp of North Carolina State University, of a hitherto-unknown pamphlet by de la Peña, "A Victim of Despotism," published in 1839, which mentions a "diary" on which he was working and contains language similar to the controversial memoir. The matter may not be settled until the Peace family, which still owns the memoir manuscript, permits scientific tests. (So far they have refused.)
Even if the de la Peña memoir manuscript is authentic, it does not follow that its account is entirely trustworthy. The manuscript is not simply a "diary," but has been padded with material obtained after the war, including some items from English-language sources, such as Travis's famous letter from the Alamo. De la Peña (who died in 1842) might have rewritten a diary or notes years after the events described. Lending credibility to this hypothesis is this reference to the execution in "A Victim of Despotism":
If those in the cultured countries name us savages and assassins, none more than general [sic] Santa Anna has given an occasion to this. In the Alamo he ordered the murder of a few unfortunates who had survived the catastrophe, and whom general Castrillon presented imploring his mercy. Among those had been a man who pertained to the natural sciences, whose love of it had conducted him to Texas, and who locked himself up in the Alamo not believing it safe by his quality of foreigner, when general Santa Anna surprised Bejar.
If the "man who pertained to the natural sciences" was Crockett, then why didn't de la Peña name him in this document, as he did in the memoir? Skeptics who agree that the longer manuscript is authentic have an explanation�the contamination thesis. De la Peña may have witnessed, or may have been told about, the executions after the battle, but neither he nor any of his comrades knew who the murdered prisoners were. When he sat down to write his memoir, however, de la Peña may have become aware of American newspaper accounts that Crockett had been among those executed.
Doubts about de la Peña's ability to identify members of the Alamo garrison can only be strengthened by examination of the rest of With Santa Anna in Texas. Consider de la Peña's supposed eyewitness account of the death of Travis (a passage that debunkers hostile to military heroism never quote, for obvious reasons):
Travis was seen to hesitate, but not about the death that he would choose. He would take a few steps and stop, turning his proud face toward us to discharge his shots; he fought like a true soldier. Finally he died, but he died after having traded his life very dearly. None of his men died with greater heroism, and they all died. Travis behaved as a hero; one must do him justice, for with a handful of men without discipline, he resolved to face men used to war and much superior in numbers, without supplies, with scarce munitions, and against the will of his subordinates. He was a handsome blond, with a physique as robust as his spirit was strong.
According to the testimony of his slave Joe, who survived the battle, Travis was killed while defending the northern wall of the Alamo. If we are to believe the account in With Santa Anna in Texas, we must believe that either de la Peña himself, or an informant in the Mexican army, was able to distinguish Travis from the other Texans, while looking up from below the wall and being fired upon, in the darkness before daybreak. If de la Peña was the alleged eyewitness, then we must further believe that, after witnessing the death of Travis on the north wall, he providentially made his way to the other side of the fortress�just in time to see David Crockett executed by Santa Anna!
The credibility of de la Peña's memoir, then, stands or falls on its descriptions of the deaths of both Crockett and Travis. Indeed, there is reason to be skeptical even about de la Peña's 1839 account of the execution of the prisoners, in which he did not mention Crockett. Two years before de la Peña included that passage in "A Victim of Despotism," another attack on the fallen dictator had been published in Mexico by Ramon Martinez Caro, who had been Santa Anna's personal secretary during the war in Texas. According to Caro:
Among the 183 killed there were five who were discovered by General Castrillon hiding after the assault. He took them immediately to the presence of His Excellency who had come up by this time. When he presented the prisoners he was severely reprimanded for not having killed them on the spot, after which he turned his back upon Castrillon while the soldiers stepped out of their ranks and set upon the prisoners until they were all killed. . . . We all witnessed this outrage which humanity condemns but which was committed as described. This is a cruel truth, but I cannot omit it.
The 1837 Caro account is important for two reasons. First of all, it might have been a source for de la Peña's account in his 1839 pamphlet, as well as for the expanded version found in With Santa Anna in Texas. More important, Caro's eyewitness account, published only a year after the battle, does not identify any of the prisoners as Crockett. If Crockett had been one of the prisoners and his identity had been known to his Mexican captors, the fact should not have escaped the attention of Caro, who was standing at Santa Anna's side.
Defenders of the theory that Crockett was among those executed argue that the existence of other accounts corroborates the claim. Are those stories corroborating evidence�or evidence of contamination by rumor?
In the weeks after the fall of the Alamo, conflicting and often imaginative accounts of Crockett's last moments filled letters and newspapers in Texas and the United States. Among the civilian survivors, Susannah Dickinson, the widow of one of the Alamo defenders, and Travis's slave Joe, both of whom were allowed to go to join Houston's rebel army, claim to have seen Crockett's body, presumably where he had fallen in combat. In the earliest letters mentioning the fall of the Alamo, written by Texans in March, two facts are repeated: first, that everyone, including Crockett, was killed in or after the battle; and second, that several of the defenders (the number usually given is six or seven) surrendered and were executed after the battle at Santa Anna's order. None of the contemporaneous accounts identified Crockett as one of the executed prisoners. Indeed, the most common apocryphal stories among the Anglo-Americans had Travis, or Bowie, or both committing suicide once they saw the battle was lost.
As the weeks and months passed, however, the death of Crockett and the execution of the prisoners became conflated in newspaper stories and memoirs. One or more of the most famous members of the garrison�Crockett, Bowie, Travis, James Butler Bonham, or some combination�were now said to have been among the prisoners whom Santa Anna had executed. The earliest of these "celebrity prisoner" accounts is found in the New Orleans True American of March 29, 1836: "The Mexicans fought desperately until daylight, when seven only of the garrison were found alive. We regret to say that Col. David Crockett and his companion Mr. Benton, also the [sic] Col. Bonham of South Carolina, were of the number who cried for quarter but were told there was no mercy for them. They then continued fighting until the whole were butchered." The newspaper, however, reprinted a letter of March 16 by Andrew Briscoe, a long-time Texas settler, who claimed, "Colonels James Bowie and Crockett were among the slain; the first was murdered in his bed in which he had been confined by sickness. The later [sic] fell fighting like a tiger."
The first American newspaper account identifying Crockett as one of the executed prisoners appeared in a letter of July 19, 1836, written by a Texas army officer, George M. Dolson. Dolson claimed to have served the previous day, July 18, as an interpreter between Colonel James Morgan and Santa Anna's aide, Colonel Juan Almonte, one of the Mexican officers whom Morgan held prisoner on Galveston Island after the Texans routed the Mexican army and captured Santa Anna at San Jacinto. According to Dolson, "Colonel Crockett was in the rear, had his arms folded, and appeared bold as the lion as he passed my informant [Almonte]. Santa Anna's interpreter knew Colonel Crockett, and said to my informant, 'the one behind is the famous Crockett.' When brought to the presence of Santa Anna, Castrillon said to him, 'Santa Anna, the august, I deliver up to you six brave prisoners of war.' Santa Anna replied, 'Who has given you orders to take prisoners, I do not want to see those men living�shoot them.'" While this would appear to be strong corroboration, skeptics point out that Almonte's diary, found after the Battle of San Jacinto, does not mention the alleged incident in its description of the sack of the Alamo.
However one weighs it, the Dolson letter, after the de la Peña memoir, is the strongest potential corroborating evidence for the execution theory. Other alleged corroborative accounts are either American newspaper articles, which adherents of the "contamination" thesis can dismiss as mere echoes of already published rumors, or second- and third-hand accounts in interviews and memoirs long after the fact. For example, in 1904 a veteran of the Texan army, William P. Zuber, described the story of Crockett's execution, which he attributed, via a Texas raconteur, to Santa Anna's son-in-law General Martin Perfecto Cos, as an example "of the myths related of the fall of the Alamo." In the same letter, Zuber explained how Texans pressured Mexican prisoners into confirming rumors that had been circulating on the Texan side: "After the battle of San Jacinto, some of our men repeated [the rumors] interrogatively to prisoners, inquiring if they were true, and many of them, to seem intelligent, confirmed them, answering in effect, 'Yes, that is true. I saw it.' These yarns spread from mouth to ear, as facts, among the prisoners, and even some of the generals utilized them in modified form in [an] effort to prove themselves innocent of the outrages perpetrated by their countrymen."
A dynamic like the one Zuber describes seems to have been at work in the case of Francisco Becerra, an alleged veteran of the battle on the Mexican side who was eager to please Anglo-American writers in later decades by supplying them with information about the fall of the Alamo. Becerra, interviewed 39 years after the battle, claimed that Santa Anna had executed Crockett�and Travis, too! Generations later, Zuber, who had passed on one of the Crockett execution stories (which even he admitted was a "myth"), related how James Bowie had also survived the battle and had been thrown alive onto the funeral pyre of the other Texans. (Zuber was also the source of the story of Travis's line in the dust, another Alamo fable.)
The evidence, then, presents difficulties for those who argue that Crockett surrendered, only to be executed. The most plausible near-contemporary Mexican accounts, those written by Caro in 1837 and de la Peña in 1839, agree that there were executions, but do not identify Crockett as one of those executed, while the purported Mexican accounts that identify Crockett as a prisoner are either obviously false like Becerra's or are attributed to Mexican officers in captivity by Anglo-American intermediaries such as Dolson, sometimes long after the alleged event. Proponents of the execution theory must accept accounts of Crockett's execution, while dismissing equally plausible (or equally dubious) stories that other well-known Alamo defenders such as Travis, Bowie and Bonham also survived the battle.
A final set of witnesses remains to be presented. All are from the Mexican side, so they cannot be accused of seeking to glorify Crockett by lying about his death in combat.
After the battle, Santa Anna asked the alcalde, or mayor, of San Antonio, Francisco Ruiz, who knew the leaders of the garrison, to identify their bodies. According to Ruiz, "Toward the west in a small fort opposite the city, we found the body of colonel Crockett." (The "small fort" may have been the southeastern courtyard between the palisade and the familiar chapel front.)
Ruiz made his statement years after the events. What may be the definitive account of Crockett's death was written shortly after it occurred by his supposed executioner, Santa Anna, in his 8 a.m. dispatch to Mexico City: "The fortress at last fell into our power with its artillery, ammunition, etc., and buried among the ditches and trenches are more than 600 [probably fewer than 200] bodies, all of them foreigners. . . . Among the dead were the first and second in command of the enemy, the so-called colonels Bowie and Travis, Crockett of equal rank and all the other leaders and officers." If, only minutes before, the most famous among those whom Santa Anna in the same letter called "collaborators who have come from the United States of the North" had been presented to Santa Anna as a prisoner, it seems odd that the Mexican dictator did not mention this in his boastful report. Nor would he have been ashamed of ordering Crockett's execution; two weeks later, Santa Anna ordered the cold-blooded killing of 400 unarmed Texan prisoners of war at Goliad. One could argue that, while Santa Anna did not know who Crockett was, one or more of his aides recognized the celebrated Tennessean�but this seems a bit far-fetched. Santa Anna's dictated after-action report implies that Crockett died like the other leaders whose corpses in "the ditches and trenches" were identified at the general's request by San Antonio's mayor.
In favor of the theory that Crockett died in combat, then, are the accounts of Santa Anna and Ruiz, which can be added to the written statements of Caro in 1837 and of de la Peña in 1839�neither of whom identified Crockett as one of the prisoners Santa Anna had executed. The most powerful evidence for the execution theory is de la Peña's memoir, With Santa Anna in Texas (which evidence now strongly suggests he completed after his 1839 pamphlet), and certain letters and accounts in the Texas and U.S. press, particularly the letter of James Dolson, that appear to corroborate it.
To believe the "corroboration" theory, one must believe that Santa Anna executed the famous David Crockett, but neglected to mention the fact in his after-action report an hour or so later; that his personal secretary, describing and denouncing the execution of Texan prisoners in 1837, also failed to mention that fact; and that Enrique de la Peña himself neglected to mention it, in his account of the executions written in 1839. One must also believe reports in letters and in the Texas and U.S. press that Crockett was executed, while dismissing more-or-less identical stories about Travis and Bowie. The contamination thesis presents the historian with far less to explain. Shortly after the battle ended, Santa Anna inspected the fallen Alamo, and was presented with a handful of prisoners of war by General Castrillon. Santa Anna ordered their summary execution, an act witnessed (and later deplored) by his secretary, Ramon Martinez Caro, and others, possibly including José Enrique de la Peña. Afterward (or perhaps earlier), Santa Anna ordered the San Antonio mayor, Francisco Ruiz, perhaps with the aid of Travis's slave Joe, to identify the leaders of the Alamo garrison among the dead. Ruiz found Crockett's body where the Tennessean had fallen during the battle, possibly between the palisade and the chapel front (the "small fort"). It was here that Susannah Dickinson, being led from the chapel after the battle, may have seen Crockett's remains.
Soon rumors among the Texan rebels and in the United States were placing Crockett and other well-known defenders such as Travis, Bowie, and Bonham among the prisoners executed at Santa Anna's command. These apocryphal stories followed the rules of popular historical fiction, in which the famous persons of a given era or place have chance encounters with one another. It was not enough that Santa Anna executed a handful of unknown southern or midwestern farm boys or European soldiers of fortune; no, the evil tyrant had to order the killing of the most famous defender, David Crockett, in cold blood. Assuming that de la Peña's memoir is authentic, the author may have identified the elderly man named in his earlier 1839 account as Crockett, after reading accounts in the North American or Mexican press in which Crockett, previously unknown in Mexico, was given a prominent place.
The margin of error in this matter is so great that reasonable people, including eminent historians such as James Crisp and Dan Kilgore, can conclude that Crockett was indeed executed. Given the limited and conflicting evidence, there can be little chance of a consensus about what happened in the smoking ruins of the Alamo early one morning 162 years ago. About two questions, however, there can be no debate. Colonel David Crockett, along with almost 200 Texan defenders and hundreds of Mexican soldiers, died a painful death that morning in 1836�and he died bravely. Those who have seized upon the stories of Crockett's surrender as proof that an American hero was actually a coward appear to be unaware of the laws of war in the 19th century, which prescribed acceptance of surrender (the Texans themselves had paroled the Mexican army from which they had captured the Alamo a few months earlier). And those who use accounts of his execution to denigrate Crockett appear not to have read the testimony of their own star witnesses�first and foremost, José Enrique de la Peña in With Santa Anna in Texas: "Though tortured before they were killed, these unfortunates died without complaining and without humiliating themselves before their torturers."
| Battle of the Alamo |
Which term in economics is represented by the initials GDP? | 1000+ images about History Mexican American War on Pinterest | James bowie, Primary sources and The alamo
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Jim Bowie, Born: 1795 in Georgia Died: March 6, 1836 at the Alamo near San Antonio, Texas. Jim Bowie was a bold and adventuresome, knife wielding, fighter. He was an aggressive frontiersman that lived most of his life in Louisiana. He had a passion for dealing in land speculation, and was famous for his long knife that was named after him. Jim Bowie moved to Texas in 1828 and he joined the fight against Santa Anna for the independence of Texas from Mexico at the Alamo.
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What age range is covered by Quinquagenarian? | FDA approves Zostavax vaccine to prevent shingles in individuals 50 to 59 years of age
For Immediate Release: March 24, 2011
Media Inquiries: Shelly Burgess, 301-796-4651, [email protected]
Consumer Inquiries: 888-INFO-FDA
FDA approves Zostavax vaccine to prevent shingles in individuals 50 to 59 years of age
The Food and Drug Administration (FDA) today approved the use of Zostavax, a live attenuated virus vaccine, for the prevention of shingles in individuals 50 to 59 years of age. Zostavax is already approved for use in individuals 60 years of age and older.
In the United States shingles affects approximately 200,000 healthy people between the ages of 50 and 59, per year. It is a disease caused by the varicella-zoster virus, which is a virus in the herpes family and the same virus that causes chickenpox. After an attack of chickenpox, the virus lies dormant in certain nerves in the body. For reasons that are not fully understood, the virus can reappear in the form of shingles, more commonly in people with weakened immune systems and with aging.
"The likelihood of shingles increases with age. The availability of Zostavax to a younger age group provides an additional opportunity to prevent this often painful and debilitating disease" said Karen Midthun, M.D., director of FDA's Center for Biologics Evaluation and Research.
Shingles is characterized by a rash of blisters, which generally develop in a band on one side of the body and can cause severe pain that may last for weeks, and in some people, for months or years after the episode.
Approval was based on a multicenter study conducted in the United States and four other countries in approximately 22,000 people who were 50-59 years of age. Half received Zostavax and half received a placebo. Study participants were then monitored for at least one year to see if they developed shingles. Compared with placebo, Zostavax reduced the risk of developing shingles by approximately 70 percent.
The most common side effects observed in the study were redness, pain and swelling at the site of injection, and headache.
Zostavax was originally approved on May 26, 2006, for the prevention of shingles in individuals 60 years of age and older.
Zostavax is manufactured by Merck & Co. Inc., of Whitehouse Station, New Jersey.
For more information:
| 50 to 59 |
The Academy Awards were last Sunday, with The King's Speech winning 4 out of 12. Since equaled by Titanic and The Lord of the Rings: The Return of the King, which film, written by a former governor of New Mexico, was the first to win 11 awards in 1959 | FDA approves Zostavax vaccine to prevent shingles in individuals 50 to 59 years of age
For Immediate Release: March 24, 2011
Media Inquiries: Shelly Burgess, 301-796-4651, [email protected]
Consumer Inquiries: 888-INFO-FDA
FDA approves Zostavax vaccine to prevent shingles in individuals 50 to 59 years of age
The Food and Drug Administration (FDA) today approved the use of Zostavax, a live attenuated virus vaccine, for the prevention of shingles in individuals 50 to 59 years of age. Zostavax is already approved for use in individuals 60 years of age and older.
In the United States shingles affects approximately 200,000 healthy people between the ages of 50 and 59, per year. It is a disease caused by the varicella-zoster virus, which is a virus in the herpes family and the same virus that causes chickenpox. After an attack of chickenpox, the virus lies dormant in certain nerves in the body. For reasons that are not fully understood, the virus can reappear in the form of shingles, more commonly in people with weakened immune systems and with aging.
"The likelihood of shingles increases with age. The availability of Zostavax to a younger age group provides an additional opportunity to prevent this often painful and debilitating disease" said Karen Midthun, M.D., director of FDA's Center for Biologics Evaluation and Research.
Shingles is characterized by a rash of blisters, which generally develop in a band on one side of the body and can cause severe pain that may last for weeks, and in some people, for months or years after the episode.
Approval was based on a multicenter study conducted in the United States and four other countries in approximately 22,000 people who were 50-59 years of age. Half received Zostavax and half received a placebo. Study participants were then monitored for at least one year to see if they developed shingles. Compared with placebo, Zostavax reduced the risk of developing shingles by approximately 70 percent.
The most common side effects observed in the study were redness, pain and swelling at the site of injection, and headache.
Zostavax was originally approved on May 26, 2006, for the prevention of shingles in individuals 60 years of age and older.
Zostavax is manufactured by Merck & Co. Inc., of Whitehouse Station, New Jersey.
For more information:
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Voiced by Stephen Root, who is the overweight, balding, over the hill boss of Hank Hill on TV's King of the Hill? | List of King of the Hill characters : Wikis (The Full Wiki)
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Main characters
Hank Rutherford Hill (voiced by Mike Judge )—Hank is the main protagonist who proudly sells " propane and propane accessories" as the assistant manager at Strickland Propane . He resembles—in both voice and appearance—the Tom Anderson character from Beavis and Butthead , a character also voiced by Judge. Hank is generally a well-meaning father, but is often frustrated and confused by modern trends and the antics of his friends and family members. Hank suffers from a narrow urethra , which made Bobby's conception difficult. Hank is uncomfortable with public displays of intimacy with his wife and son. He has a very difficult time saying, "I love you" to any member of his family. He thinks it's unmanly. The reason for this lies in the fact that Hank's cantankerous, self-centered father, Cotton, never told Hank he loved him as a boy. Any discussion about sex, especially when women are present, causes him to blush. Hank is honestly a product of the 1940s or '50s in practicing good manners and it is very clear he considers a sense of his masculinity very important. He was a high school football hero. Hank thinks football is the greatest thing anyone can participate in or watch on television. Basketball is pretty fine, I tell you what, Hank would say, but he has very little use for baseball. That sport is something one watches when there is absolutely nothing else to do on a summer weekend afternoon. Hank also has no use for liberals in New York or Los Angeles, he considers himself a Texan and is proud of Texas culture, and he enjoys Tex-Mex cuisine and especially knowing he is a native Texan—even when he experiences a bout of something like culture shock after learning he was really born in New York and brought to Texas soon after. Hank's interests are much like any high school student's from the 1920s through the 1960s: he enjoys car repair and tuning up his one-horsepower lawnmower. He also likes woodworking, having a shop in his garage. Hank has a solid knowledge of electrical repair and plumbing and can name gauges of pipe, nails, wire and other hardware items at the drop of a caliper. He takes pride in doing good work and does all his own home repairs with expert craftsmanship. Hank has a strong relationship with his family and really does love them, despite not being able to say so. He hopes his son, Bobby, will not fall for any modern trends that sap manhood and make boys into sissies—like playing soccer. Hank would like Bobby to enjoy football more. He also thinks playing with a ventriloquist's dummy is like playing with dolls, so Hank calls it Bobby's "action figure". Hank has often worried about the twelve-year-old Bobby, such as when Bobby squeals with pleasure like a girl and has been very happy that Bobby is attracted to Kahn Jr (Connie), the daughter of the Hills' Laotian neighbor. He is doing his best to raise him better than his father, Cotton, raised him. Both Hank and his wife, Peggy, have lived rather sheltered lives. They make love solemnly in the missionary position and are scandalized—but silent—all during the time Dale's wife Nancy carries on an affair with the Indian therapist, John Redcorn. Hank's middle name is "Rutherford" in honor of President Rutherford B. Hayes . He puts up with his wife's astoundingly inflated opinion of her skills, recognizing her failings. At the same time, he is proud of what she really can do. When someone wrongs him, Hank will often respond with the phrase "I'm gonna kick your ass!" Dale Gribble is by far the most frequent recipient of this threat. In addition to propane, Hank enjoys car repair and yard work, and is shown in some episodes doing his neighbor's yard work or surreptitiously creating more for himself to do. Hank's trademark wail of distress in times of discomfort (sounding like "Bwaaaah!") and his phrase "I tell you what" ("what" in his dialect being pronounced /hwɒt/) are running gags on the series. Unlike many people in real life, Hank has achieved his heart's desire in life, selling propane and propane accessories. He considers his job as assistant manager at Strickland Propane the best possible thing that could have happened to him outside of finding Peggy to marry. He is generally insensible to all the ways Mr Strickland takes advantage of his good-nature. For his part, Hank looks on Buck Strickland as the loving father he never had. Mr. Strickland often refers to Hank as "Ol' Top".
Margaret 'Peggy' Platter Hill (voiced by Kathy Najimy )—Hank's wife, Peggy, was born in Montana and raised on her family's cattle farm. Peggy is now a substitute teacher in Arlen, Texas. She specializes in teaching Spanish . She believes she speaks the language fluently but in all honesty, has a poor grasp of the language. She thinks carniceria (meat market) means carnival. Her poor grammar, syntax and pronunciation often makes native Spanish speakers think she is insulting them if they understand what she's saying at all. Peggy's knowledge and pronunciation of the language is feeble at best, and she refers to it with her Texas drawl as /ˌɛsˌpanˈoʊl/ and pronounces por favor as /ˌpɔrfeɪˈvɔr/. At one point her poor Spanish-language skills cause an international incident in Mexico. Despite her self-delusion that she speaks Spanish well, Peggy jumps at any chance to be a temporary sub for any other class at Tom Landry Middle School. Peggy is also a freelance newspaper columnist, notary public , an exemplary softball pitcher and a Boggle champion and has started a career in real estate . Although well-meaning and open-minded, Peggy is full of herself, bossy and something of a blowhard , often unintentionally displaying her naïveté and ignorance without realizing it; she considers herself far more knowledgeable, clever, and attractive than she actually is; for example, she claims that her IQ is 170, but once revealed this was an "educated guess" made by herself. She has a habit of adding or changing ingredients to ordinary dishes then calling them after herself. "SpaPeggy" and "Apple Brown Peggy" are conspicuous examples. In a number of episodes, this gets her into trouble. Peggy is very self-conscious about her larger-than-normal feet (size 16 ¹⁄₂). Peggy will often excitedly murmur "Oh, yeah!" when she completes a task well, and "Oh, Peggy!", a self-deprecating compliment accompanied by a modest giggle after coming up with a phrase she finds especially clever. Peggy can be likeable and is a fairly good mother despite her foibles. She has been known to offer good advice to Luanne and Bobby—and even to Hank. Hank and she are very much in love with each other. They have eyes for no one else—although Peggy briefly contemplated adultery with the actor who stars as a secret-agent–priest in "Los Dias y Las Noches de Monsignor Martinez", a fictional Spanish-language TV series. Peggy often has her classes watch this program as a homework assignment.
Robert 'Bobby' "Butch" Jeffrey Hill (voiced by Pamela Adlon )—Hank and Peggy's husky thirteen-year-old son and best friend to Joseph and Connie. Although friendly and generally well-liked, he isn't very bright and often prone to making bad decisions even when basic comprehension would suggest otherwise. He wants to be a famous prop comic and move to New York when he is older. Bobby displays little interest in gender roles and dislikes playing football, often taking such classes as Home Ec. and Peer Counseling, instead of more masculine classes like auto shop. Despite Hank's discomfort with Bobby's sensibilities, Hank loves his son and often saves him when his bad decisions catch up with him. In the final episode, Bobby and Hank finally bond when Hank discovers that Bobby has a talent for distinguishing cuts of meat and is put on the Heimlich County Community College meat inspection team.
Dale Gribble (voiced by Johnny Hardwick )—Dale is the Hills' chain-smoking neighbor who is also a part-time insect exterminator. His greatest expertise lies in his knowledge of conspiracy theories . He believes in most urban legends and the better known conspiracies, including the BEAST and the US government's cover-up of aliens landing on earth. Dale is paranoid about any government activity. He refuses to register to vote, pay taxes, or sign his real name on any form that has the faintest resemblance to a government document. He also claims to have the birth certificate of a child that died in 1953. It is shown in "Hank's Dirty Laundry" that it is Rusty Shackelford, an old classmate of Dale, whom he believes died in the third grade. It is also hinted that Dale has Shackelford's driver's license, which he uses for everything from ordering pizza to signing government documents. He is also a borderline maniac . Dale is also his gun club's president and a licensed bounty hunter . Though boastful, he is a coward who recoils in the face of violence. Dale remains completely oblivious to the fact that his wife, Nancy, has cheated on him with John Redcorn for fourteen years and his son Joseph is not actually his biological son. Everyone else knows but chooses not to tell him because of his total obliviousness, the loving, trusting relationship he has with Joseph and Nancy, and the fact that Dale is more of a father to Joseph than John Redcorn is. Hank considers Dale a close friend, but he often becomes very annoyed with his schemes and conspiracies. Dale closely resembles Hunter S. Thompson in appearance and mannerisms, such as spouting random phrasings, i.e. claiming he is actually a super-warrior from 2087 and believing that aliens impregnated his wife with his own semen, which explains how Nancy was impregnated while he was away but not why his son looks like John Redcorn.
William "Bill" Fontaine Delatour Dauterive (voiced by Stephen Root )—Bill is the Hills' overweight, divorced, clinically depressed , involuntarily celibate neighbor. Bill had a tough childhood with an abusive father who often locked Bill in a rabbit hutch, which Bill recalls in later years, saying, "I deserved it." He was formerly a rugged and attractive star defensive lineman on Arlen High's football team, nicknamed the "Billdozer". When on the goal line, Bill would take Hank's place at running back and push his way forward for a touchdown. Bill once had a bright future in the Army, but ended up ruining his life after marrying the slutty Lenore, whom he found passed out in his lap after a Molly Hatchet concert. Bill is often attracted to people who abuse him; after suffering under his father and Lenore, Bill has an almost complete lack of self-worth. He obsesses about his ex-wife, and his loneliness and suicidal tendencies are a running gag on the series. He is a sergeant barber in the United States Army . He frequently tries to flirt with and woo Peggy, and even steals, tapes together, and plays Boggle with Peggy's body cast after she gets it taken off following a skydiving accident. His last name is often mispronounced by characters who do not know him and is of Cajun origin. He grew up in Louisiana and speaks French and English. Despite coming across as a loser, however, Bill has enjoyed several romantic successes (or near-successes), including Khan's mother, former Texas governor Ann Richards, and the young widows of two of his dead cousins. Named after executive producer and writer Jim Dauterive.
Luanne Platter Kleinschmidt (voiced by Brittany Murphy )—Luanne is the Hill's college-age niece, daughter of Peggy's scheming brother Hoyt and his slutty, alcoholic, exhibitionist ex-wife Leanne. Luanne moves in with the Hills after her mother Leanne stabs Hoyt with a fork during a drunken fight which tips over their trailer. Hank initially makes frequent attempts to encourage Luanne to move out on her own, but later more-or-less accepts her as a member of the family. She was a student at the beauty academy and later at Arlen Community College. She was often portrayed as an airhead , but was shown to be an expert mechanic in the first two seasons and is good at logic puzzles. Luanne's basic problem is having been raised by poor white trash parents who had no interest in educating her. Luanne was promiscuous, but she settles down after first being visited by the spirit of her space pilot boyfriend, Buckley, which she calls "Buckley's angel"; and then attending a church-sponsored "second virginity" program and starts a Bible study class. Luanne often is portrayed as having the social skills of a talented ten-year-old, such as when she puts on her "Manger Babies" puppet show for a local-access TV station. In the 10th season finale, Luanne revealed that she was pregnant with the child of Lucky, whom she married in the 11th season finale. In the 13th Season, she has a baby girl named Gracie Margaret Kleinschmidt (whom she almost named Lasagna because Luanne was high on epidurals during the birth).
Jeff Boomhauer (voiced by Mike Judge )—Boomhauer is a slim, young-looking womanizer whose mutterings are nearly incomprehensible to the audience but easily understood by his friends. A running joke is when his friends fail to understand him for some reason other than his incoherence. His speech is usually heavily littered with the phrases, "Dang", "Dang ol'" and "I'll tell you what". Boomhauer is a classic-car aficionado, and, despite his incoherent ramblings and womanizing, often displays himself to be more intelligent and philosophical than his three friends. In episode 18 of season 13, the Canadian woman who trades houses with him for the summer calls him Jeff, finally revealing his first name. He occasionally displays hints of chivalry, such as when he allowed Luanne to sleep on his couch when she had a falling out with Hank and made no attempt to take advantage of her, or when he broke up an old flame's engagement to his unfaithful brother. In one episode, Bobby asks the worldly-wise Boomhauer how to ask a woman out. Boomhauer takes him to a shoe store in the local mall and keeps sighting one woman after another, using some pretty well-worn pickup lines. Bobby notes that Boomhauer is rejected a heck of a lot of times but finally gets a phone number which he shows Bobby. The boy is incredulous that Boomhauer's reputation as a smooth operator rests on such an obviously unoriginal, rejection-filled method. Boomhauer once fell in love with a woman who would jog by his house every morning. Bill first showed interest in her. In his not very adult ideas about how to meet women, Bill dug several holes in the street, expecting her to trip in one and need his assistance. As he stood by in a suit and tie ready to render assistance, Bill fell victim to his own immature plot as Boomhauer comes to the woman's rescue after she does trip and fall. Eventually Boomhauer actually proposes to this woman, even offering her his grandmother's wedding ring, which she rejects as her current lover comes in wondering if Boomhauer is the pizza delivery boy. In the end, after a pep talk from Bill, Boomhauer learns a lesson about how to treat women after suffering this profound rejection and the emotional aftermath. Throughout the series it is never known what he does for a living, but at the end of the final episode of the series, it is revealed that Boomhauer is a Texas Ranger .
Other Hill and Platter relatives
Cotton Hill (voiced by Toby Huss )—Hank's father, Cotton was a deranged, politically incorrect misogynist with a hair-trigger temper. His shins were blown off in World War II by a "Japanese man's machine gun" and his feet were reattached to his knees, resulting in a short height and stilted gait. Despite his disability, he eventually reached the rank of Colonel in the State Militia , and is addressed as such by his friends and Dale Gribble. After divorcing Hank's mother, he marries a much younger, softspoken, busty blonde candy striper named Didi who gives birth to his youngest son "G.H." He calls Peggy "Hank's Wife" and makes frequent references to his (perhaps dubious) wartime heroism, including his killing of "fiddy [fifty] men". Cotton spent most of his free time playing checkers and hatching absurd schemes (such as rowing to Cuba and killing Fidel Castro ) with his war buddies at the VFW. However, by the middle of the series, all of his war buddies had died. Cotton himself died, not once but twice, in episode #218, "Death Picks Cotton", after suffering severe burns and an allergic reaction to shrimp during a tirade at a Japanese restaurant. In the episode "Chasing Bobby," Peggy stated that Hank's greatest fear was his father dying without telling him how much he loved him, which is exactly what happened. His dying wish of destroying Hank's new shed was carried out by Dale after Cotton's death.
Didi Hill (voiced by Ashley Gardner )—Didi is Cotton's second wife and a candy striper . She has breast implants and suffers from postpartum depression following the birth of Cotton's third son "G.H.". She is generally depicted as docile and unintelligent, although she has a degree in optometry . Didi speaks in a voice reminiscent of Ginger from Gilligan's Island and was once a student in Hank Hill's kindergarten class (in her first appearance, she asks Hank if he still likes finger painting). She was absent when Cotton died. In the episode "Daletech," Cotton indicates that she was going to spend many months with her parents and without him. She often incorrectly calls Peggy her stepdaughter. She makes an appearance one year later and reveals that she is getting married to a wealthy professional wrestler.
Good Hank "G.H." Hill (voiced by Donovan Patton )—G.H. is Cotton's and Didi's infant son, and Hank's younger half-brother. G.H. is an abbreviation for "Good Hank," implying that the original Hank was unsatisfactory to his father. Hank feels envious of the new Hank being his father's favorite, and he does not consider him his brother. G.H. was nowhere to be seen at the time of his father's death and is not mentioned again.
Junichiro (voiced by David Carradine )—Junichiro is Hank's elder half- Japanese half-brother who has lived in Japan all his life. Hank and Junichiro have the same father, due to Cotton's affair with a Japanese nurse during his war days, and share many similarities in appearance and mannerisms (this in spite of the fact that Hank actually shares more of his mother's features); one of these is that when he is shocked, like Hank, he yells "BWAH!". Like Hank, Junichiro also has a narrow urethra and is an assistant manager at the company for which he works, making robots and robot accessories. He is initially uncomfortable with the idea of meeting either Cotton or Hank, and his comments send Cotton on a rampage through Japan; but with Hank's help the family reconciles before Hank returns to the U.S. Since Junichiro was raised Japanese, he does not have cultural problems talking about the sexual issues Hank does, like his narrow urethra. In "Lucky's Wedding Suit," he made a cameo at Luanne and Lucky's wedding.
Tilly Hill (voiced by Tammy Wynette in 1997–1998, Beth Grant in 1999, and K Callan in 2000–present)—Tilly is Cotton's first wife and Hank's mother. She divorced Cotton after suffering years of verbal abuse. A kind woman who collects miniatures, Tilly lives in Arizona with her Jewish boyfriend Gary (voiced by Carl Reiner ); Hank was initially unhappy with her dating Gary and went blind when he walked in on them making love, but later expressed his approval of her new man when Gary threatened to kick Cotton's ass if he insulted Tilly in his presence. Hank has trouble emotionally connecting with Tilly, but is a loving son who defends his mother in spite of Cotton's insults. Tilly has facial features virtually identical to Hank, indicating his mother is the source of his looks and general physical appearance. K Callan assumed the role after Wynette's death.
Elroy "Lucky" Kleinschmidt (voiced by Tom Petty )—Lucky is Luanne's dimwitted, itinerant, but generally benign redneck husband, and is the father of Luanne's child. He lives on the remainder of the $53,000 "settlement monies" he received after "slipping on pee-pee at the Costco " (which he almost always refers to as "mah pee-pee money"). At one point Lucky's fortune dwindled down to nine thousand dollars but regained another $53,000 when an ambulance chasing lawyer paid off Lucky to avoid a lawsuit. Peggy tried very hard to break him and Luanne apart, but after Luanne's pregnancy was revealed, she and Hank reconciled the two, giving them a shotgun wedding on Lucky's request. He is also a former guitarist for John Redcorn's band, Big Mountain Fudgecake, and occasionally plays gigs in biker bars. His favorite band is Brownsville Station . Surprisingly, he has moments of insight that prove he isn't quite as stupid as he appears, which may stem from his being consistently drunk. Despite how he may come off, he loves Luanne very much, and is very involved with her family. He and Luanne love to have sex, but he also enjoys the "gentlemanly pursuits" of mudding , stickin' , cat-fisting , stumping , and truck racing .
Gracie Margaret Kleinschmidt—Daughter of Lucky and Luanne. She was born in the season 13 episode "Lucky See, Monkey Do." Luanne originally wanted to name her Lasagna Kleinschmidt (stating that lasagna was their favorite food), but Peggy intervened and came up with a more appropriate name.
Leanne Platter (voiced by Pamela Adlon )—Leanne is Luanne's violent alcoholic mother, who was imprisoned for stabbing her husband in the back with a fork. Though she is often mentioned during the course of the series, she appears only in the episode "Leanne's Saga," visiting Luanne in Arlen after her release from prison. According to Hank, Peggy's brother Hoyt had planned to marry a pharmacist , but wound up marrying Leanne instead after she entertained at his bachelor party . She and Bill are soon engaged, though their relationship rapidly degenerates once she starts drinking again. Everyone, except initially Bill and Luanne, sees her as an un-ladylike, psychotic menace to society; once these two recognize the truth as well, Leanne steals Bill's truck and drives out of Arlen, presumably for good. Although for an unknown reason, she can be seen at Luanne and Lucky's wedding.
Hoyt Platter (voiced by Johnny Knoxville )—Hoyt is Luanne's father and Peggy's twin brother who ran from Arlen after Leanne stabbed him. It was later found out that he never worked on an oil rig, but was in jail for most of Luanne's life and the oil rig story was a cover so Luanne wouldn't know her father was a convict. He appears in only one episode "Life: A Loser's Manual." After being released from jail, Hoyt continues his larcenous ways to the point of bullying Lucky into confessing to a robbery Hoyt committed. Thanks to some crafty work by Hank and Peggy, Hoyt was nabbed for another crime and convinced to take the rap for the robbery. He was put back in jail presumably for life with Luanne believing the false story that he "signed a lifetime contract to return to the oil rig."
Ladybird—The Hills' fourteen-year-old purebred bloodhound . Her companionship temporarily relieved Hank's stress (and narrow urethra), allowing him to impregnate Peggy. She is named after the famous Texan and Democratic U.S. President Lyndon Johnson 's wife Lady Bird Johnson . Her mother was alleged to be one of the bloodhounds who tracked down James Earl Ray . Hank is skeptical about breeding her until her thirteenth year, when he finally breaks down and attempts to stud her with one of Mr. Strickland's hounds. However, he then discovers that Ladybird has a narrow uterus—a gag to coincide with Hank's narrow urethra. It is also suggested in Doggone Crazy that Ladybird had become deaf.
Dusty Hill (Himself)—The bassist/vocalist for the band ZZ Top , he is Hank's cousin. In the episode " Hank Gets Dusted ," Cotton gives his prized Cadillac to Dusty without allowing Hank a chance to buy it. Dusty and his bandmates have come to Arlen to film a reality show , but the camera crew soon turns the focus toward driving Hank crazy. The last straw comes when Dusty enters the car in a demolition derby in which it is badly damaged; he barely escapes with his life, and the band soon chases the camera crew off. Hank and Dusty make their peace after Dusty has the car repaired and installed at the Cadillac Ranch .
Other Gribbles
Nancy Hicks Gribble (voiced by Ashley Gardner )—Nancy is Dale's wife and the weather girl turned reporter for a local television station. She had a fourteen-year affair with John Redcorn , which produced her son, Joseph, although she eventually broke off the affair and became a more faithful wife to Dale. She frequently addresses other characters as "sug" (phonetically "shʊg"), which is short for "sugar." Her mother Bunny (voiced by Rue McClanahan ) was also unfaithful to Nancy's father, but did not reveal her own long-term affair until Nancy began suffering from stress-induced hair loss.
Joseph John Gribble (voiced by Brittany Murphy as a prepubescent in 1997–2000, Breckin Meyer as a pubescent from 2000–2009)—born ca. 1994, Joseph is Dale and Nancy's thirteen-year-old son and one of Bobby's best friends. Despite Joseph's obvious Native American features, being strikingly similar in appearance to John Redcorn , and the fact that his middle name is "John," neither he nor Dale is aware that Redcorn is his biological father, the result of a fourteen-year affair. Dale refers to his Jamaican grandmother to explain Joseph's dark complexion. Redcorn's occasional awkward attempts to get closer to Joseph (against Nancy's wishes) lead Joseph to regard him as strange and creepy. Joseph is something of a pervert, objectifying almost all girls with the exception of Connie. In some episodes, he's had a small infatuation for Connie, particularly when she and Bobby are at odds. He has a half-sister named Kate, who is very similar to Joseph in personality and interests but also does not realize that Redcorn is her father. Puberty gave him an enormous growth spurt, making him head and shoulders above his friends.
Bug Gribble (voiced by David Herman )—Dale's father, who was estranged from his son for many years for making a move on Nancy on the day of Dale and Nancy's wedding. Bug was actually gay and making a move on the Filipino catering boy, and kissed Nancy to cover for it, but was unable to tell Dale the truth afterward. When Dale and Nancy renew their wedding vows years later, she arranges to invite Bug, and Dale initially suspects his odd behavior and his "partner" as meaning that Bug is a government agent, but finally accepts the truth when shown that his dad works for a gay rodeo . Dale mentions that the name of his exterminating service "Dale's Dead-Bug" has a double meaning relating to his father. In an early season episode, Bug is shown to be the source of Dale's fear of ventriloquist dummies, due to a prank played at a birthday party. He made a cameo in "Lucky's Wedding Suit" as one of the attendees of Luanne and Lucky's wedding. In earlier episodes' flashback scenes, Dale's father just looks very similar to how Dale looks now, but the "gay rodeo performer" persona seems to have retconned this. Despite this, even in this older style of depiction, he was still called "Bug."
Other Dauterives
Gilbert Dauterive (voiced by David Herman )—His name pronounced [ˌʒilˈbɛʁ], in the French manner, Gilbert is Bill's cousin (based on Tennessee Williams ) who shows some signs of literary insight and a knowledge of philosophy . He is Bill's only living blood relative after his cousin and aunt die very suddenly in the night, though he seems to care very little for Bill and has a rather sadistic sense of humor. He publishes a poetry magazine to perpetuate the Dauterive family name, selling his family's estate to pay for the costs of running it. It is strongly implied that he is gay , as he laments the ending of the Dauterive bloodline despite being single and has hit on Buck Strickland when Strickland was attempting to capitalize on the Dauterive family's barbecue sauce recipe. He lives in a mansion on a bayou in Louisiana .
Lenore Dauterive (voiced by Ellen Barkin )—Lenore is Bill's mean spirited ex-wife (also, in one episode, the name of his iguana ). They met at a Molly Hatchet concert, at the end of which she passed out in his arms. She is mentioned frequently throughout the course of the series, but only appears twice—one of which was just Bill and Bobby watching Bill's wedding video. She enjoyed cheating on and mistreating Bill, starting her affairs a mere two weeks after their wedding, but with help from Former Texas Governor Ann Richards , Bill was finally able to tell her off and move past her toxic influence.
Eric Dauterive (voiced by Stephen Root )—Bill's father was said to be an abusive man, and was largely responsible for Bill's emotional instability. Bill claims that his father spanked him every day from age of nine to 16, and that he often humiliated Bill by making him wear dresses. At one point, Bill called his father a bastard when the subject came up. Bill's father was revealed to have died at some point, seen when Bill wanted to have a party to celebrate the school's homecoming victory (he says that he can have the party at his house because his parents are dead). This is confirmed by revealing that Bill and Gilbert are the only surviving Dauterive males. He was seen only once (in a flashback) in the episode "Order of the Straight Arrow". He resembled an older, more rugged Bill. His only line of dialogue consisted of some snickering.
Souphanousinphones
Kahn Souphanousinphone (voiced by Toby Huss )—Kahn is a mean, racist, materialistic, Laotian next-door neighbor. "Kahn" is an anagram of "Hank", as well as an anagram for "khan", a word for "king" in certain Central Asian languages. He believes he is better than his neighbors, often referring to them as "hillbillies" or "rednecks." He frequently boasts his superiority to the others, but Hank bails him out in several episodes, and Kahn has made it clear that he strongly respects Hank (though he also has made it clear this respect does not extend to Bill, Boomhauer, and especially Dale). Upon recollection of the story of how Minh and Kahn met, it is revealed that he was a former rebel and playboy Minh chose over the straight-laced intellectual her father set her up with. Kahn also occasionally wrestles with the fact that he has a daughter, and once, when very angry with her, stated, "You lose, you no longer my son." [3]
Minh Souphanousinphone (voiced by Lauren Tom )—Kahn's wife. Minh is a housewife who enjoys making catty comments about the neighbors, particularly Peggy. She sometimes has disapproving, rude, snobbish attitude toward the neighbors, but in reality, she is a more understanding parent and a better neighbor than Kahn, which often allows her to connect with Connie in a way her dad never could (as seen in "Father of the Bribe"). She also has a fondness for adding nutmeg to everything she cooks to make it taste better. She's a crack shot, with championship-level skills, and at one point joined Dale's gun club, exerting a positive effect on its members. She is highly competitive, going so far as to cheat on The New York Times crossword puzzle. Like her husband, Minh grew up in Laos, where her father was a powerful general in the army who was not happy with her decision to marry Kahn.
Kahn "Connie" Souphanousinphone, Jr. (voiced by Lauren Tom )—Connie is the daughter of Kahn and Minh, and one of Bobby's best friends, as well as on-and-off girlfriend. She's a violin player, A student, and general overachiever pressured by her mother and father, who hold her to very high standards leading to early periods. Though it is implied that she works hard because of her overbearing parents, in reality, she does it for herself which, according to her, is the product of a deep psychological compulsion she cannot explain. She reveals to Bobby that she has a secret desire to physically assault, and or harm, her father. Connie is named after her father because he wanted a son.
Doggie Kahn Souphanousinphone—Doggie is their West Highland White Terrier , who has the uncanny ability to turn backflips, and is a competitive dancer. He once ran away with Ladybird. His name is a play on " Donkey Kong ."
Tid Pao Souphanousinphone (voiced by Lucy Liu )—Tid Pao is Connie's delinquent cousin from Los Angeles , who was sent to stay at Kahn's for a semester because her grades had been slipping. She attended Tom Landry Middle School in the meantime. She seduced Bobby with a kiss and tricked him into creating a meth lab by pretending to help him with building a candy machine for his group science project, and persuaded him to steal gas tanks from Strickland Propane to complete it. Upon seeing a policeman grading projects during the science fair, she told Bobby he could take all the credit and ran off; Connie saved him by shooting the lab to pieces with a spud gun . Tid Pao was sent away by Kahn to Exeter, Wisconsin to work on her last uncle's dairy farm at the end of the episode because of her delinquency, with a warning that she would be sent back to her grandma if she misbehaved again.
Laoma Souphanousinphone (voiced by Amy Hill )—Laoma is Kahn's mother. She is kind and hardworking and thoroughly enjoys housekeeping . She is disliked by Minh because of her criticism of Minh's housework skills. The status conscious Souphanousinphones are horrified when Laoma, bored and unwanted in her son's house, becomes the Hills' housemaid, and even more horrified when she begins a love affair with Bill Dauterive. Laoma is briefly mentioned in the following episode "The Witches of East Arlen", but is not seen. After this there was no mention of their relationship, nor has Laoma herself been seen since her first episode, mainly because the creators nixed the original plan for her and Bill to become a regular couple, preferring for Bill to remain his usual single and miserable self. Although she doesn't appear in later episodes, it is implied in a later episode that she gave household tips to Minh via phone, to give to Peggy in exchange for New York Times Crossword Puzzle answers.
Strickland Propane
Buck Strickland (voiced by Stephen Root )—Buck is the overweight, balding, over-the-hill owner of Strickland Propane , and Hank's boss. Originally hailing from Arkansas , Buck is a compulsive gambler, chauvinist, alcoholic, cheat, adulterer, and womanizer. Hank is blindly loyal to Buck, preferring to view his boss as the idealized American entrepreneur while turning a blind eye to his failings, except when Buck's behavior threatens the immediate welfare of Hank's family.
Joe Jack (voiced by Toby Huss )—Joe Jack is a fuel-truck driver and co-worker with Hank at Strickland Propane. He has a drinking problem, as seen when he is a member of the Propaniacs, and it has also been stated that he has a gambling problem as well. He has a habit of calling people "honey", regardless of gender. In one episode, it's revealed that Joe Jack did something so bad at Taco Bueno that he's not allowed to play on the company softball team.
Enrique (voiced by Danny Trejo )—Enrique is a good-natured but annoying Hispanic truck driver at Strickland Propane. In the episode " Enrique-cilable Differences ," Hank and Enrique had hardly ever talked to each other before, much to Hank's satisfaction, but suddenly Enrique forcibly befriends Hank after a nasty fight with his wife. Enrique ends up moving in with the Hills for a short time, but quickly patches things up with his wife after a fed-up Hank kicks him out. He has since made several appearances.
Debbie Grund (voiced by Reese Witherspoon )—Debbie was an employee of Strickland Propane and was Buck Strickland 's mistress . When Strickland ended their relationship, she plotted to murder him and his wife and possibly Hank and Peggy, but accidentally killed herself when she inadvertently discharged her shotgun into her own torso while attempting to climb into the dumpster she was using as a hiding place.
Donna (voiced by Pamela Adlon )—Donna is the accountant at Strickland Propane. Everyone who talks about her always refers to her as "Donna from Accounting". In one episode she was promoted to Assistant Manager along side Hank. She was fired because she stole things from Stickland Propane. She also has kids which was mentioned by Hank once.
Roger "Booda" Sack (voiced by Chris Rock in the first appearance, Phil LaMarr in later appearances)—He first appeared in "Traffic Jam" as a comedian and traffic school instructor. His abrasive and insulting style of humor infuriates Hank, who ends up having him fired. However, Bobby idolizes him. When Roger saves Bobby from an angry crowd at Bobby's unintentionally racist stand-up act, Hank helps him become an employee of Strickland Propane.
Elizabeth "Miz Liz" Strickland (voiced by Kathleen Turner )—Elizabeth is the deep-voiced, long suffering wife of Buck Strickland. Buck claimed in "Hanky Panky" that "she could tolerate my drinking, my gambling, and my infidelity, but not all once... and not on her birthday!" Her hair is always pulled up tightly in a bun. It is shown that Buck Strickland has a shotgun with her name engraved on it. Miz Liz once attempted to seduce Hank in a propane-powered hot tub when she and Buck were separated, but the interest was not reciprocated. She and Buck ended up back together, but a later episode in which Buck takes Bible classes from Luanne implied that their relationship had ended permanently.
Tom Landry Middle School
Carl Moss (voiced by Dennis Burkley )—Carl is the principal of Tom Landry Middle School and one of Hank's high school classmates. Like most school administrators, his twin concerns are tight budgets and maintaining discipline, and he tends to follow procedure to avoid trouble, even when it conflicts with his friendship with Hank. He suspends Hank from temporarily teaching shop class while on vacation after Hank gives the students tools, due to a school policy to prevent students from carrying "weapons" around campus. He also once fired Peggy after she spanked Dooley in class when he pulled her pants down, despite Dooley's parents forgiving and even thanking her. He tries to stay out of conflict as much as possible, even going as far as faking a heart attack to get out of being the tie-breaking vote in a PTA meeting, as in the episode "No Bobby Left Behind." Unsurprisingly, the antics of his students (and their meddling parents) often frustrate him. Carl attended Brown University and displays the diploma on the wall behind his desk in the principal's office.
Coach Kleehammer (voiced by Toby Huss )—Coach Kleehammer is the football coach at Tom Landry middle school. He has a difficult time relating to things outside of football and often uses football-related expressions in everyday speech. Kleehammer is portrayed as something of a sexist. He was briefly appointed acting principal of Tom Landry Middle School.
Stuart Dooley (voiced by Mike Judge )—Stuart is Bobby's deep-voiced, laconic classmate. He has shaggy red hair. He always sardonically intones something obvious after witnessing an event (for example, to Bobby after witnessing Mega Lo Mart exploding, "Your Dad got blown up.") He seems to be something of a sadist and a putdown artist, taking quiet pleasure in saying things to people to sadden or anger them (e.g., when Bill is having fun at Bobby's birthday party, Dooley mentions that Bill's wife divorced him). His character also seems to be loosely based on the character Butt-head of Beavis and Butt-head .
Clark Peters (voiced by Pamela Adlon )—Bobby's overweight bully at Tom Landry Middle School. He has a blond ponytail and speaks as though he has a perpetual head cold. He sometimes forces Bobby to do homework for him, except when Bobby writes down that his favorite hobby is to knit. (As his teacher remarked, "The Clark Peters I know likes to burn things.")
Randy Miller (voiced by Cheryl Holliday in 1997–1999, David Herman in 2000–present)—Randy is the quintessential "nerd," and loves to tattle on people, then see them being punished. Bobby, Connie, and Joseph don't like him very much. He is very proud of his father being a successful patent lawyer. Although once a rather prominent character, he largely vanished after the fifth season. He later returned in "Talking Shop" being bullied by Dooley, but Bobby persuades him to leave him alone because he wants attention. In this appearance Randy is noticeably taller and has a deeper, scratchy voice, having seemingly entered the early stages of puberty.
Chane Wassonasong (voiced by Pamela Adlon )—Chane is a smart but obnoxious and rude classmate of Bobby and Connie. Connie's parents are constantly trying to fix her up with Chane, also Asian-American, as they see him as a very preferable alternative to Bobby, despite the fact that she finds Chane to be annoying. He is a member of his school's track and field team, and used to bully Bobby, but after a fight between the two—which resulted in Chane receiving a rather painful groin injury—he settled for verbally abusing Bobby rather than physically.
Emily (voiced by Ashley Johnson )—She is a sixth grade blonde pony-tailed hall monitor who takes her position quite seriously. She often serves as the gatekeeper of Principal Moss' office.
Ramon Alejandro (voiced by Pamela Adlon )—A classmate of Bobby's of Hispanic descent he is among the more popular students and is very popular with the girls.
Arlen VFW
Sergeant "Topsy" Toppington (voiced by Stephen Root )—Toppington (nearly always referred to as "Topsy") is an old wartime buddy of Cotton Hill. He often acts as an accomplice to Cotton's inane hate- and revenge-driven schemes. He could inflate his cheeks in a manner similar to Dizzy Gillespie , and according to Cotton, he had to have all his teeth pulled out because they were badly decayed. He also has not slept in twenty years, according to "Unfortunate Son". It is unknown whether this refers to a full night of sleep or sleep in general. In a later episode, he is left for dead after a failed scheme by Cotton who declares "He's playing checkers with the worms." In " Death Buys a Timeshare ," his death is confirmed as Cotton is left his estate .
Stinkey (voiced by Edward Asner )—Stinkey is one of Cotton Hill's wartime friends who was overweight and had suffered from diabetes. He later died at some point.
Irwin Linker (voiced by Jack Carter )—Irwin is one of Cotton Hill's wartime friends who is often seen with an oxygen tank. He was one of the few to not be named Stinky, Fatty, or Brooklyn .Peggy says he is a potty mouth
Ted "Pops" Popazito (voiced by Jim Cummings )—One of Cotton's war buddies he lived next to Bill for eighteen years. He often criticized Hank and his friends for using modern tools for housework. In "Movin' On Up," he died of a heart attack on his lawn mower and his house was rented by Luanne and some college friends. During the credits of the episode, Cotton and Topsy come to visit him only to be greeted by Griffin (one of Luanne's rude roommates) whom they attack for suspicion of murdering Pops and calling them Nazis.
Other recurring characters
John Redcorn (voiced by Victor Aaron in 1997, Jonathan Joss in 1997–2009)—John is Nancy's former Native American "healer" and adulterous lover, and the real father of Joseph. A former roadie for Winger and lead singer of Big Mountain Fudgecake, Redcorn enjoys classic rock music and "hair" bands. He works out of his trailer as a masseur, though his clients are generally only women. It is implied that he has a history of having sex with them, as Hank is horrified when Peggy goes to see him, and John Redcorn even states to him, "Hank, I consider you a friend. I would never heal your wife the way I heal the wives of others." He is also active in Native American rights campaigns, and Dale once helped him with a lawsuit that netted him several acres of land from the Federal government. In Season 9, he began writing and performing his own children's music. He is almost always referred to by his full name (no character typically calls him simply "John"). In the episode " My Own Private Rodeo ", it's revealed that Dale believes John Redcorn to be gay (this may be a reason he never suspected Nancy and John Redcorn having an affair).
Ted Wassonasong and Cindy Wassonasong (voiced by Mike Judge and Lauren Tom respectively)—Ted and Cindy are affluent Asian-American acquaintances of the Souphanousinphones. Kahn and Minh envy and resent them, but go to great lengths to gain their favor, such as inviting them over for dinner. They live in the upscale, gated community of Arlen Heights, and are prominent members of Nine Rivers Country Club . Ted and Cindy tolerate the Souphanousinphones but, in reality, look down upon them. The Wassonasongs are friendly toward the Hills only when they need something from them, such as when Ted persuaded Hank to become the first non-Asian member of Nine Rivers so that a PGA tournament could take place there (Hank ultimately refused when Ted could not prove his "friendship" to Hank by answering his question, ("What, and what accessories do I sell for a living?"), and when Cindy offered Peggy a contract to sell their house if she would take over Cindy's Cozy Kitchen sales job, which sucked Peggy into a pyramid scheme. They also joined the Episcopal Church despite being Buddhist because it was "good for business." This does call into question Ted's Laotian pride and scorning of Kahn as a ' banana .' Ted is also a member of The Arlen Booster club.
Octavio (voiced by Danny Trejo )—Octavio is a Hispanic quasi-mercenary who does various bizarre favors for Dale when paid enough money. On his chest is a large Rob Zombie tattoo. His appearance was modeled after his voice actor, Danny Trejo . His most recent appearance was a brief cameo in Nancy Does Dallas. In a case of art imitating life, Trejo worked with Rob Zombie on the director's horror film The Devil's Rejects .
M.F. Thatherton (voiced by Burt Reynolds in the first appearance, Toby Huss in later appearances)—M.F. is a former employee of Strickland Propane who strikes out on his own and opens up the crooked Thatherton Fuels company across the street from Strickland. He dresses like an old school rich cowboy with a ten-gallon hat and cowboy boots. An untrustworthy type, Thatherton is a sometime foil to Hank Hill and/or Buck. Whenever Thatherton does something devious, Hank or one of his family members is usually heard exclaiming "Thatherton!" (similar to " Newman !" in Seinfeld ).
Reverend Thomason (voiced by Maurice LaMarche )—A reverend at Arlen First Methodist. He was replaced by Reverend Karen Stroup upon retiring to start an online ministry.
Reverend Karen Stroup (voiced by Mary Tyler Moore in 1999, Ashley Gardner in 2000–2009)—The first female minister of Arlen First Methodist. She is originally from Minnesota , but is assigned to Arlen after Reverend Thomason left to start an online ministry. She is also an avid Minnesota Vikings fan. She has shown hints that she had a crush on Bill where they finally became a couple in a later episode, yet he broke up with her when she moved in and felt like everything was moving too fast. She didn't take it well but there has been no talk about their relationship since that episode.
Jimmy Whichard (voiced by David Herman )—Jimmy is a violent moron who is the town imbecile. He has had several jobs, including concession manager at the racetrack and outsider artist . Bobby worked for him at the racetrack, and Hank wasn't sympathetic to Bobby's horror stories until he visited the track and saw Jimmy's mistreatment of Bobby that endangered his life; Hank then chased down Jimmy and literally kicked his ass. Dale notes that he may have given himself brain damage from staring into the sun for too long, although "he can't have been too bright to do it in the first place". When Peggy was scammed by an internet test that "proved" she was a genius, she only believed it to be a scam upon learning that Jimmy was also proclaimed a genius. When Peggy's propane tank sculptures were on display at an art gallery, Jimmy had an exhibit of googly-eyed figures made from aluminum cans; he was upset that they were being sold for money instead of more cans to keep making them with. A running gag during his appearances is his use of the phrase "smashed 'em good."
Chuck Mangione (himself)—Chuck is a famous jazz trumpeter, and his hit song "Feels So Good" is played frequently on the show. He shamelessly promotes Mega-Lo Mart until he grows tired of going to every Mega-Lo Mart opening (there are 400 per year) and becomes a hermit, living within the Arlen Mega-Lo Mart in a "Toilet Paper Castle" (a giant tower made out of stacked packages of Mega Wipe toilet paper) and stealing stocked items. He also apparently defecates on the floors in order to "stick it to the man." Chuck Mangione is apparently a big karaoke fan, as he is impressed by Kahn's rendition of " The Morning After " in "Pour Some Sugar on Kahn".
Monsignor Martinez (voiced by Mike Judge )—The Monsignor is the gun-toting priest hero of the fictional TV series Los Dias y Las Noches de Monsignor Martinez, a favorite of many of the principal characters. Clips of his program are often inserted into episodes as part of a running gag. In one of the episodes, Hank mentions that Martinez is an undercover cop. The clips of his episodes which appear on the series usually feature him just about to kill one of his nemeses while solemnly uttering his catchphrase, Vaya con dios. In the 8th season episode "Flirting with the Master," the actor who plays Martinez invites Peggy to Mexico City to tutor his children, and she mistakes his interest for romantic passion.
Lane Pratley (voiced by Dave Thomas )—Lane is a sleazy car dealer who owns "Pratley Ford " and "Pratley Hyundai ," and as he says, "I got my eye on Pratley Cadillac —my daddy ain't doing so good." Lane once owned a women's roller derby team that Peggy and Luanne skated for, before Peggy organized the skaters into a buyout and quit.
Buckley (voiced by David Herman )—Buckley was the slacker boyfriend of Luanne who was killed in a propane explosion while working at Mega-Lo Mart in the second season finale . The character did return once (as an angel) on the episode "Wings of the Dope," where Kahn buys Buckley's trampoline for his backyard and Luanne (who has been stressed over beauty school finals) begins seeing Buckley's angel, who appears to her and (in his own way) tries to guide Luanne to a better calling (which eventually leads to Luanne dropping out of beauty school and enrolling in community college).
Officer Brown (voiced by Fred Willard )—Officer Brown is a local police officer in Arlen who is commonly called upon by the main characters. In the episode "Cops and Robert," he became a security guard at Bobby's school due to massive corruption.
Jack (voiced by Brian Doyle-Murray )—Jack is Hank's mentally unbalanced barber. Eventually, his distress affects his ability to style hair, once causing Hank great embarrassment. Jack was almost forced out of business when a trendy salon named Hottyz opened across the street, but he was able to secure Luanne and Bill's services after Hottyz fired them when they learned Bill was not the homosexual hairstylist he'd been posing as.
Eustis Miller (voiced by David Herman )—Eustis is a wimpy, mustachioed patent lawyer and father of Bobby's classmate Randy. Hank and the gang often poke fun at him when they are forced to interact with him.
Bob Jenkins (voiced by Henry Gibson )—Bob is a one-eyed veteran reporter for The Arlen Bystander and is Peggy's main rival there. When Peggy thinks the " Waffle House " beat is beneath her, Bob takes it over and breaks the story of Dale as "The Smoking Bandit".
Miss Kremzer (voiced by Jennifer Coolidge )—The teacher at the beauty school Luanne went to.
Sharona Johnson (voiced by Dawnn Lewis )—A girl that goes to the same beauty school that Luanne went to.
Chris Sizemore (voiced by Chris Elliott )—A real estate agent that Peggy once worked for after she wrote a scathing article about him in the Bystander.
Gary Kasner (voiced by Carl Reiner )—An elderly Jewish man who serves as Tilly Hill's new love interest following her separation from Cotton. He served on a submarine during Korea, but tells Bobby he didn't see any action during the conflict. Hank (who was temporarily blinded by the horrible sight of seeing Gary and Tilly making love on the kitchen table) was initially not happy with her mother's decision to pursue a relationship again, but Hank changed his mind when Gary threatened to kick Cotton's ass if he kept talking bad about Tilly. Later, Gary appearances include a rather comical scene in which he walks in front of Tilly naked as a Valentine's present, and Bobby visiting him and being allowed the use of his bachelor pad and golf cart.
Nguc Phong (voiced by James Sie )
Mrs. Kalaiki-Alii (voiced by Amy Hill )—An insurance agent Hank visits when Kahn backs into Hank's truck with his van. A later episode revolved around her son David who was a star football player at Arlen High and was doing poorly in his classes.
David Kalaiki-Alii (voiced by Brendan Fraser )—David is a football player in Arlen High in the episode "Peggy Makes The Big Leagues." He was proclaimed to have a learning disability in order to circumvent a rule that required footballs players to pass their classes in order to play as Peggy had given him an "F".
Fred Ebberd (voiced by Chelcie Ross )—A member of the city council who also works at a movie theater. He appeared in only two episodes, but is mentioned by Hank in several others.
Other characters
Jody "Ray Roy" Strickland (voiced by Diedrich Bader )—Jody is the illegitimate son of Buck Strickland who lives in Memphis . Buck meets him at the National Propane Gas Convention. Affectionately dubbed "Ray Roy" by Buck when he cannot remember his real name, he gladly accepts the nickname. Like his father, Jody also runs a propane company named Strickland Propane that's based in Tennessee. Also like Buck, Jody is a compulsive gambler, chauvinist, alcoholic, cheat, and womanizer.
Wesley Cherish (voiced by Andy Richter )—Wesley is a new neighbor that moved to Arlen from Fort Worth in the episode Straight as an Arrow . Wesley's wife is Annette. They have six children (only two of which have been named, boys Robin and Carey, one of which has ADHD , and the other hyperglycemia ). The children are home schooled by Annette. Wesley does not allow his children to play video games or watch TV (although they do have a TV, which is mainly used as an end table) and are not allowed to participate in "predatory sports" such as football , basketball and tag .
General Gum (voiced by James Sie )—Usually referred to as "The General," he appeared only in the episode "Pour Some Sugar on Kahn." He is Mihn's father, and greatly dislikes Kahn. He served under several Laotian dictators and was put on trial for war crimes at The Hague . While he constantly ordered Kahn to do his errands, he grew angry as Kahn gained confidence from karaoke and started to stand up to him. After singing Kahn's only practiced song, he quickly regained dominance over his son-in-law. However, striking a deal out of pity for Kahn, he said that he would leave if Kahn admitted he was better than him in every way. Before leaving, the general offered Kahn a small amount of praise, but still refused to shake his hand. He has not yet returned to Arlen.
Spongy (voiced by Toby Huss )—Spongy is a hobo that was "Kicked out of his mental hospital by Reagan." He "lives" in downtown Arlen. He first appered in "The Texas Panhandeler." His second, and last, appearance was in The Boy Can't Help It where he refuses a project/gift from Dale and Boomhauer as too conspicuous and therefore likely to cause him trouble.
Donnie Vatriguez (voiced by Alanna Ubach )—Donnie Vatriguez is a twelve-year-old Mexican country singer and a guitarist. He was Bobby Hill's favorite singing celebrity. Unlike Bobby, he was skinny and Hispanic, and he has black raggy hair. He was a young boy parody of Johnny Rodriguez . In the 1997 music video, he sings "Hiding a Plum In Mexico"; a parody of Ridin' My Thumb to Mexico.
Patch Boomhauer (voiced by Brad Pitt )—Patch is the sleezy, womanizing younger brother of Jeff Boomhauer. His only speaking episode was the 150th episode (eighth season premiere) titled " Patch Boomhauer ." In the episode, Patch is going to marry Boomhauer's old flame, Katherine (voiced by Laura Dern ). Boomhauer sulks as he is still in love with Katherine. The wedding is later called off after a misunderstanding involving strippers. Patch appears only one other time, at Luanne and Lucky's wedding, but he has no dialogue.
References
| List of King of the Hill characters |
"Mr. Watson, come here. I want to see you" was the first message sent by what medium on March 10, 1876? | King of the Hill / Characters - TV Tropes
I sell propane and propane accessories.
"I tell you what..."
The protagonist of the show, Hank is a propane salesman who loves his job nearly as much as he loves his family. He's pretty introverted and can't cope with emotion very well, but he's clearly the most level-headed of the cast . Voiced by series creator Mike Judge .
Action Dad : Frequent ass kicker of both the figurative and literal varieties? Check. More physically fit than just about any other character in the show? Check. Survived a tornado by grabbing onto a freaking telephone pole? Check.
Aesop Amnesia : Half the episodes in the entire show couldn't happen if Hank didn't forget the many, many times he learned to accept Bobby for who he is, or realized that his father was a selfish jackass.
Alliterative Name : Except for the "R." in the middle of his name.
Big Applesauce : Hank was born in the ladies' room at Yankee Stadium. He is not pleased to learn about it.
Why Did It Have to Be Snakes? : "It Came from the Garage" reveals that Hank has a phobia of bats. Naturally, he has to sail underneath a bridge where hundreds of them live in order to save Bobby in the same episode.
With Friends Like These... : Multiple times, Hank gets exasperated by the idiotic antics of his friends. However, when push comes to shove, Hank proves that he really cares about them when they get into really bad trouble.
Margaret "Peggy" Hill (née Platter)
Two-time Substitute Teacher of the Year.
"In my opinion..."
Peggy is Hank's wife, to whom he is Happily Married . Impulsive and ditzy, she causes trouble for the family with hare-brained ideas. She and Hank stay loyal to each other no matter what though. Voiced by Kathy Najimy.
Women Are Wiser :
A notable aversion. Although she occasionally does have to let Hank know when he's being a jerkass, for the most part he's nicer, more competent and more practical than she is, and regularly has to rescue her from the results of her own zany schemes . However, there have been times where Peggy is able to function in a situation a lot easier than Hank does, either due to his willing inability to deal with emotions or because it's some cultural event that clashes with Hank's "old days" mind set.
The best example of this played straight is when Peggy learns that Hank has paid sticker price for every car he's bought for the past twenty-five years. For years, Hank was led to believe he was being offered "special deals" on the cars until Peggy got involved in buying a new car and watched Hank pay full price on a car she was going to pay $2,500 less on.
Robert Jeffrey "Bobby" Hill
"Hey Dad! I'm Sophia Loren !"
Bobby is Peggy and Hank's 13-year-old son, who wants to break into the entertainment business. Since he's kind of effeminate and has some strange interests (by his family's standards), Hank fears for the boy's future. He'll be all right, though. Voiced by Pamela Adlon .
Morality Pet : For Cotton.
The McCoy : Pretty much completely driven by impulse.
Mistaken for Gay : By Hank, who doesn't understand why his son doesn't like sports or anything considered "manly" (though the last episode "To Sirloin with Love" does reveal one manly thing he can do that doesn't embarrass Hank: grill beef). Various episodes have shown that Hank does actually believe that his son is gay, and he's noticeably relieved when Bobby shows interest in Connie.
Nice Job Breaking It, Hero! : Bobby's actions in "Born Again on the Fourth of July" are directly responsible for the residents of Rainey Street and Milton Street to escalate their rivalry to a full-blown war. In his defense, he does try to fix things once he sees the results of his actions.
Only Known by Their Nickname : The only time his full name is shown was on a shelf. Apparently, his other nickname is "Butch", though that's never been used elsewhere, either.
Strong Family Resemblance : In his flashbacks, Cotton looks like an older, taller, fitter Bobby.
Too Dumb to Live : Sometimes, he does get involved in a lot of things that he knows are bad, but goes along with it as he's trying to find a hobby/interest that won't disappoint his father. He's also shown really poor judgment when it comes to animals, such as playing with a colony of fire ants or trying to befriend a raccoon.
Trademark Favorite Food : Fruit pies, though he'll eat pretty much anything.
"Well Done, Son!" Guy : Bobby sometimes tries to make his father proud of him when it appears that Hank doesn't love him enough. He became terrified of the idea of having a baby sibling because he thought the only reason Hank and Peggy were proud of him was because he didn't have any siblings to be compared to (as Hank has a narrow urethra and a low sperm count, making it impossible for them to have another child). The very first episode actually stated that Bobby was afraid Hank doesn't love him all the time.
Luanne Platter
"Class was cancelled today and the library was closed. I love college!"
This is Peggy's niece; the Hills took her in early on in the show, partially to get her away from her horrible mother. Luanne isn't the sharpest knife in the drawer (at least in the later episodes. Earlier ones showed that she had a lot of technical skill when it came to fixing cars and some episodes show that she can think for herself in a crisis). Voiced by Brittany Murphy .
Acquired Situational Narcissism : In "My Hair Lady" and "Manger Baby Einstein."
Innocent Fanservice Girl :
In one episode, she starts a Bible study class at a swimming pool. She thinks that she's reaching out to people; in reality, they just want to see her in a bikini and enjoy the hugs she gave out as rewards.
Same thing when she got into boxing. She didn't learn until too late that the only reason guys came to see her was because they had a fetish for seeing a hot, under-dressed woman box.
Averted in "Return to La Grunta," where she becomes self-conscious after several golfers sexually harass her. Luanne even dresses in unflattering clothes to discourage them, without success.
May�December Romance : Luanne is around 20 and married Lucky who is 35.
Ms. Fanservice : Invoked in-universe in "The Trouble with Gribbles", when she temporarily replaces Nancy as the TV weather girl.
Odd Friendship : Bonds with Bill over their barber skills in "My Hair Lady." She even gets fired trying to stand up for him to their boss. This actually extends as far back as Season 1's "Plastic White Female," though it's never really foregrounded.
Punny Name : Luanne shares her full name with a dish at Southern cafeteria chain Luby's: The "Lu Ann" Platter
.
Took a Level in Dumbass : By the time Season 2 aired, she had done some serious level grinding, and it got worse from there.
Wrench Wench : Part of her initial characterization. In the pilot, after Hank spends most of the episode trying to find out why his truck won't start, she offhandedly mentions she borrowed it, noticed the fuel filter was clogged and blew it clear. When Hank's truck is seized as evidence and taken apart after a junkie tries to steal it, she puts it back together.
Ladybird
Hank's and the Hills' old female dog. It is no exaggeration to think Hank likes her more than Bobby or Luanne.
Big, Friendly Dog : While not exactly that big, she is portrayed as such and very rarely hurts others.
Heroic Dog : In "Racist Dawg", Ladybird didn't get an issued command to drag a sleeping Bobby out from a lethal gas leak in their house at night. She did it anyway, but nobody makes a mention of this (and were more concerned by Bill performing CPR with his nacho-filled breath).
Mistaken for Racist : "Racist Dawg" has everyone believe that Ladybird is violently racist towards black people (and connect the dots that Hank must be too as dogs take after their owners) after attacking a black repairman. In the end, it turns out Hank subconsciously loathes repairmen doing his "job" at the house that Ladybird lashes out violently at them, regardless of their color.
Colonel Cotton Lyndal Hill
"I killed fitty men!"
Hank's father, a crotchety old man who doesn't seem to approve of anything Hank does. This war vet can never stop talking about how he killed "fitty" (50) men while in service. When it comes to impulsiveness, he's even got Peggy beat . Heaven help Hank. His last appearance in the series sees him die from a horrible accident (or as he puts it, Tojo finally got him). Voiced by Toby Huss.
Ugly Guy, Hot Wife : With Didi.
Unreliable Narrator : Certain recountings of Cotton's past are rather questionable.
Use Your Head : A favourite tactic of his and quite effective due to him missing his shins, since this places his head right at crotch level for most people.
When He Smiles : A kind one at least, during his last days alive with Bobby. His smile looks like one finds in a grandparent instead of a sadistic, arrogant smirk.
Younger Than They Look : Cotton was around thirty when Hank was born. In flashbacks seen in "Yankee Hankie" (set on the day Hank was born in 1959), he looks the exact same as he does in the present day only with brown hair. However, in scenes set only 15 years prior, he looks more like an extremely fit and slightly older version of Bobby.
Matilda Mae "Tilly" Hill
Hank's biological mother.
A Day in the Limelight : "The Unbearable Blindness of Laying", "Escape From Party Island", and "The Honeymooners".
The Ditz : Hank says that he worries about her because she is an idiot for making stupid decisions such as marrying Cotton, dating another man before she broke up with her boyfriend and selling her gold to someone on TV.
Freudian Excuse : Being married to an emotionally, verbally, and sometimes physically abusive man for years, (Cotton once used her as an actual footstool), and only being able to seek comfort in glass figurines, may be the reason why in her later years Tilly makes spontaneous and often stupid choices. Now that she's free from Cotton, and no longer taking care of Hank, Tilly is free to live her life how she wants and is expressing out decades of repressed emotions, which channel into some questionable antics.
Hidden Depths :
As the series goes on, it shows she has terrible choice in men, and is constantly making spur of the moment extreme decisions without thinking of the consequences.
Earlier in the show's history, though, Tilly admitted that she took several odd jobs during Hank's childhood, including a job as a taxi driver, in order to get out of the house. Hank simply believed that she was happily fulfilled in being a stay-at-home mom, and was quite shocked to learn this (when Tilly mentioned the taxi, Hank says that all he remembers is her owning a yellow car).
Glurge Addict : When trapped in a severely abusive marriage with Cotton, she became obsessed with unicorn figurines. Hank deeply loathes them until he realizes those figurines were the only thing that kept her going.
I Was Quite a Looker : Not ugly (despite Cotton's claims) but a flashback of Hank's birth has shown her to be a really pretty young woman with dark hair.
Long Bus Trip : She disappears from the series after one appearance in Season 5, and doesn't return until one of the unaired episodes almost 10 years later.
Love Martyr : She really goes out of her way for the love of something, whether its her figurine obsession or a whirlwind romance for a guy she's known for a few weeks.
Only Known by Their Nickname : According to Hank's birth certificate in "Yankee Hankee", her name is Matilda Mae Hill.
Out of Focus : She appears far less than Cotton and is not introduced until well after he is. Although she made a handful of appearances in the first few years after her introduction, her absences became longer and longer as time went on to the point that it was easy to forget she existed.
Didi Hill
Cotton's 40 year old second wife.
Abusive Parents : She seems to mean well, but her absent-mindedness and general stupidity results in her often neglecting G.H., including leaving him home alone because she simply forgot about him.
Bitch in Sheep's Clothing : Claims that she's changed. She hasn't.
Cool Big Sis : What Leanne wants Luanne to see and refer to her as.
Domestic Abuser : Abused Hoyt throughout the marriage, which eventually resulted in him getting stabbed with a fork (which lead to her arrest). She starts abusing Bill once she starts drinking again.
Evil Counterpart : To Peggy, in terms of a mother figure towards Luanne.
Gold Digger : Downplayed; while she does spend all of Bill's money, it's mostly because he's too meek to say no and she's too clueless to realize that nice things cost money. However, she does seem to have this attitude towards Luanne and Hoyt.
Hair-Trigger Temper : When she drinks. Poor, poor Bill...
Hoist by His Own Petard : If she hadn't spent Bill's money so freely, he could have afforded his medication and his toe fungus wouldn't have driven her back to drink.
Jerkass : And the worst one in the entire series.
Knight of Cerebus : Her one appearance marks one of the darker episodes in the series, taking all of the comedy out of Luanne's shattered home life and showcasing one of the rare examples of female-on-male abuse taken seriously on TV.
Lady Drunk : She thinks she's a Hard-Drinking Party Girl , but she's too old, too violent, and has a serious drinking problem.
Man Child : It is quite clear she doesn't want to be seen as a mother. She even yells at Luanne that she is no longer her "sister" before leaving.
Off the Wagon : And it gets worse from there. She was already a jerk to Luanne. When she's drunk, she gets violent.
Parental Neglect : She's rather emotionally abusive towards Luanne. She was even okay with her daughter dropping out of college to get a job to support the two of them. This is mainly because she doesn't want to be a mother, as seen in the episode where she comes back and tries (emphasis on "tries") to be Luanne's Cool Big Sis .
Strong Family Resemblance : Basically looks like a middle-aged Luanne, only with badly dyed hair.
Hoyt Platter
Luanne's biological father (even though earlier episodes revealed that Hoyt was a wussier, male version of Peggy). Was once thought to have escaped to an oil rig to get away from his abusive wife (and wouldn't come back until he got her death certificate in a fax), but a later episode revealed that Hoyt was in jail and, if he screws up again, he'll be there for life. Voiced by Johnny Knoxville.
Bitch in Sheep's Clothing : When he came back, he gave his sister Peggy two lottery tickets that were already scratched (and weren't even winning tickets). Things got worse from there until he was arrested again.
Chronic Villainy : Seems incapable of passing up the opportunity to commit a crime.
Daddy Had a Good Reason for Abandoning You : He's stinking in jail forever, Luanne.
Even Evil Has Loved Ones : He sincerely loves Luanne (as shown in his last scene with Hank), but still seems willing to sell her out to avoid jail. A rare example of this trope making a character less sympathetic.
The Ghost : Was this for most of the show's lengthy run, only being mentioned in a few episodes that concerned Luanne.
Manipulative Bastard : He uses his daughter's happiness of seeing him back to get away as an excuse for any stupidities he pulls on the Hills and her husband. In the end, karma gets him good and Luanne is led to believe he got a better position at the oil rig.
Retcon : A jarring example. Originally Hoyt was a male version of Peggy who ran away and joined an oil rig to get away from Leanne and wouldn't return until her death certificate was faxed to him. When he finally made his appearance, he was shown to be a convict on his last strike and that the "oil rig" story was a lie, and he'd been gone for most of Luanne's life (originally, she was an adult still acknowledging just having seen him). He was such a manipulative bastard he would've even thrown his own daughter under a bus if it meant him avoiding jail.
Elroy "Lucky" Kleinschmidt
Slipped on pee-pee at the CostCo.
A 35 year old hillbilly introduced later in the series whose personal income consists primarily of nothing but personal injury suit victories. Becomes involved with Luanne, then later marries and has a child with her. Voiced by Tom Petty .
Ascended Extra : His most noteworthy scene in that episode was when he told the story of why he was called "Lucky" (he slipped on a spill while running for the bathroom in a department store and was paid off to avoid a lawsuit). His friends Elvin and Mud Dauber , more prominently featured in that episode, are conversely Demoted to Extra .
Character Development : For all his faults he has a personal code of honor, sincerely loves Luanne (and later their daughter Gracie) and does try to improve himself with Hank and Peggy's help.
The Ditz : He's definitely not all there. Hell, Luanne looks like a genius compared to him.
Early-Bird Cameo : First appeared on "The Redneck on Rainey Street" as one of Kahn's new trailer trash friends.
Frivolous Lawsuit : His primary source of income.
Hidden Depths : Despite his slovenly appearance and attitude, Lucky occasionally displays surprising wisdom and insight.
Ugly Guy, Hot Wife : Once he and Luanne are married.
Their Neighbors
William "Bill" Dauterive
Bill, one of Hank's closest friends, was a promising high school football player who later joined the Army with big hopes and dreams. He married someone he thought was the perfect woman, but that relationship soon went south and never looked back, and Bill found a new companion in the throes of laziness, regressed to a washed up and rotund balding man. Now middle aged, broke, and divorced, Bill's constantly depressed and full of self-loathing. The guys try to put up with him as best they can. Voiced by Stephen Root .
Acquired Situational Narcissism : Occasionally when things actually go well for him.
Alone Among the Couples : Happens to Bill several times. Several of the episodes that revolve around him focus on his misery at being alone while Hank and Dale are married and Boomhauer always has a new girl.
Animals Hate Him : Dale acquired a falcon in one episode, and every time he took its hood off, it would start attacking Bill for no apparent reason. Then, after Dale states he set the falcon free in the woods, Bill starts a conversation about sausages and the falcon appears out of nowhere and starts attacking him again. He's also been attacked by emus and a rottweiler. It should be noted the rottweiler was just mean in general, as he's been shown to be friendly with other dogs. It's just birds that hate him.
Attention Whore : Almost anytime Bill finds himself successful or liked for doing something, he'll continue to put all of his time and effort into whatever it is he is doing until it eventually ruins him. Notable examples include when he dressed as Santa and entertained children, continuing this until well into February, or after finding out Peggy, Dale and Minh were secretly using him as an everyman to base their stock purchases on, he wastes away all of his money and ownings just to get their attention again.
Awesome Mccoolname : His full name is Guillaume Fontaine de la Tour D'Haute-Rive which is French for "Strong-Willed Warrior Fountain of the Tower of the Upper Bank."
Badass Decay : In-universe example. He was exceptionally strong in his youth, able to hold off three big angry punks at a bar without getting a scratch. Depression ruined him but flashes of the old Bill do emerge from time to time.
The Unintelligible : Except in The Rashomon episode, where everyone else is unintelligible when he tells his side of the story.
Verbal Tic : Intelligible parts of his speech tend to include "yeah man" and "dang ol'."
You're Just Jealous : Everyone's reaction when he tries to warn them, and his ex-girlfriend Catherine, that his brother Patch has not given up his womanizing ways. While Boomhauer is jealous that Catherine chose his brother over him, he is genuinely trying to keep her from marrying a creep who'll inevitably break her heart. Thankfully, Patch accidentally confesses to his infidelity at the end, vindicating Boomhauer.
Dale Alvin Gribble
Dale rounds out Hank's circle of friends. Dale, an exterminator by trade, is a paranoid conspiracy theorist who has prepared for just about any unlikely situation you can think of. And yet, he can't seem to figure out that his lovely wife Nancy is having an affair right under his nose. Voiced by Johnny Hardwick.
Afraid of Needles : To the point where he has a fit over getting his blood type test.
Sunglasses at Night : More like, "Sunglasses 24/7/365."
The Schizophrenia Conspiracy : In one episode, he gets sent to a mental institution because he lectures a clinic administrator on why more people are getting allergic to peanuts, because apparently they are tired of being eaten and have begun emitting a poison as a defense; when Hank sorts everything out and explains that Dale was never admitted to the hospital, he mentions the psychiatrist wants Dale to continue taking his medication. After this episode, Dale seems to become more aware of his own odder tendencies, and is, along with Bill, eager to convince Hank that Kahn, a manic-depressive, needs his medication to function.
Thousand-Yard Stare : On the rare occasions he doesn't wear his sunglasses.
Ugly Guy, Hot Wife : Though he isn't so much ugly as he is average.
With Friends Like These... : Dale has suggested killing (or attempted to kill) his friends on many occasions. A main reason Hank puts up with him is that he's too incompetent to really pull it off.
Nancy Hicks-Gribble
Dale's wife is a reporter for a local Arlen TV station. Smarter and more responsible than Dale, she nonetheless has a 14 year affair with John Redcorn which Dale never learns about. She eventually breaks it off, but not before she gives birth to a child whom Dale is convinced is his own flesh and blood. Voiced by Ashley Gardner.
Bitch in Sheep's Clothing : A less extreme example than most, but she is one of the most beautiful female characters on the show, has a charming personality, and a great public image. But even once you get past the decade plus affair, she can come off as the most vindictive and two-faced person on the block. In episodes like "Gone with the Windstorm" and "Nancy Does Dallas", she makes no bones about her willingness to destroy her coworkers' careers for personal advancement. This is lampshaded and Played for Laughs in "Gone with the Windstorm."
Peggy: You may look like a Southern Bell, but instead you're as vicious as a bull dog. Why, I've seen you ruin whole wedding showers with one catty remark.
Nancy: Why is God ruining my special day?! (Skyward) Why, Shug?!
What Does She See in Him? : Deconstructed: it's implied that Nancy fell for Dale, largely because he legitimately loved her and that she didn't start sleeping around on him until they were already married for two years. Furthermore, it's implied that Nancy was driven to John Redcorn, originally for legitimate headache treatment, due to Dale's antics, which ironically keeps Nancy's bitchiness in check since she is too busy cleaning up Dale's messes to scheme anymore.
Joseph John Gribble
Before puberty.
And after.
Nancy and John Redcorn's son. Joseph is an awkward, dim, and horny young man who spends most of his time hanging out with Bobby. Like Dale, he has no idea that John Redcorn is his biological father. Brittany Murphy voiced him from 1997-2000; from 2000 to the show's end in 2009, Joseph was voiced by Breckin Meyer.
Brainless Beauty : When he hits puberty, he becomes more taller and muscular which mistakes him for someone older and is very attractive enough to intimidate the older and fatter Buck Strickland. But he doesn't have much in the way of brain power and common sense.
Chocolate Baby : Is half Caucasian and Native American, being raised by his (both) Caucasian parents Nancy and Dale.
Cloudcuckoolander : He was a tad off to start with, but he becomes a crackpot akin to his dad when he hits puberty.
Cool Loser : Actually a completely justified example. He's tall, athletic and quite attractive, but he's just so awkward that he tends to act like a complete creep when talking to pretty much anyone. Compared to Bobby, who is short, fat and pretty ugly looking but manages to be quite popular through sheer charisma.
Crossdressing Voices : Until his growth spurt, Joseph was voiced by a woman (Brittany Murphy).
The Ditz : When he hit puberty, though some of it might be from having Dale for a father.
Dumb Jock : His growth spurt seemed to simultaneously make him athletically stronger and intellectually dumber. He eventually joins the football team in high school.
Flanderization : He was always mildly awkward and a bit dim, but it really got ratcheted up in the later seasons. Somewhat justified, as he's going through puberty, which is an awkward time for a lot of kids and it does screw with their behavior.note However, it doesn't explain how Joseph went from Bobby's more streetwise friend to practically a ditz who needs Bobby to tell him how to function basically. This is even evident in Breckin Meyer's voicing of the character. In Joseph's early post-puberty episodes, his voice is mellow and slightly accented; later on, it becomes positively manic. Then there's the fact that a conspiracy nut like Dale mostly raised him and John Redcorn didn't...
In the Blood : Seems to have inherited John Redcorn's libido and some of Dale's delusional tendencies. This is also an example of Nature vs. Nurture . John Redcorn's genes make Joseph tall and athletic but he is awkward and has poor social skills thanks to Dale's influence.
Jerk Jock : Averted. Despite being a star football player in the later seasons, he's more a Dumb Jock than a jerk and he's still friends with Bobby (who would normally get bullied by jerk jocks).
Meaningful Name : His middle name is John.
Morality Pet : To Dale . With most people, Dale is paranoid, suspicious, and really pretty selfish. However, he's an incredibly loving and devoted husband and father (even though his son is not biologically his). Despite all his craziness, he's actually a better family man than Hank in some ways: unlike Hank, Dale has no problem showing affection toward his family or saying "I love you."
Perma-Stubble : His permanent peach fuzz mustache.
Took a Level in Dumbass : It seems as if some of his brain cells apparently died off when he hit puberty.
Visual Development : When he starts puberty. Not only does he get taller and grow a crappy moustache, his clothing changes to reflect his shift in personality from confident jock to awkward ditz. When he was younger he wore a green shirt and white shorts, the same colors as John Redcorn's clothes, while after puberty he switched to blue and brown clothes, the same colors Dale wears.
Younger Than He Looks : At 13, he resembles more a high schooler or even a young 20 something man. He was even offered the wine menu by a waitress.
Kahn Souphanousinphone
This irritable Laotian businessman moved onto Rainey Street with his wife and daughter in series's first season. In a twist on the time-tested Positive Discrimination trope, Kahn is regularly rude towards his neighbors and dismisses them as dumb rednecks. Nobody really listens to him, however, especially not his daughter, Connie. Voiced by Toby Huss.
Pet the Dog :
Saving Hank from the border guards in "Three Days of the Kahn-Do." Singing "Blue Moon Over Kentucky" with Bobby and Connie in "The Bluegrass Is Always Greener" for another.
His last scene in "To Sirloin with Love." He tells Connie that she can stop studying (she's three grades ahead anyway) and come to the barbecue next door. Also in the last aired episode "Just Another Manic Kahn-Day," he and Hank have a burger from the high-tech grill and realize that they're not so different (their names are even anagrams of each others').
In the episode where the kids get lost in the caves, Kahn tells Hank he's afraid Joseph might try something with Connie, but says "Bobby's a good kid" so he knows Bobby would never do anything like that.
Poirot Speak : Does this to a degree but Minh is worse.
Professional Butt-Kisser : When it comes to Ted Wassonasong, to the point of Ho Yay , but even he's got limits.
Significant Anagram : "Khan" is an anagram of "Hank".
Minh Souphanousinphone
Kahn's wife. Just as materialistic and spiteful as him, but a smidgen more down to earth. Voiced by Lauren Tom .
All Girls Want Bad Boys : She chose Kahn, a rebel from a working-class background, over the boring "corporate boy" her father pushed on her.
Boomerang Bigot : Not quite as much as Kahn, but she's definitely close.
Deadpan Snarker : At least, her insults are usually more clever and better thought-out than Kahn's.
Good Parents : Really loving and protective of Connie.
Full-Name Basis : Calls Peggy, Hank and other characters by their full name.
Jerk with a Heart of Gold : Like Kahn, you really gotta dig deep to see it. But it's there. Unlike her husband, who is often deliberately hostile and condescending to his neighbors, Minh seems to honestly be nice, but often thoughtlessly says arrogant or dismissive things.
Odd Friendship : With Dale in "The Minh Who Knew Too Much". There's also "Bill Full of Dollars" when she joins Dale and Peggy in their stock investment schemes.
Poirot Speak : Out of all the Souphanousinphones, she speaks the least fluent with English.
Stacy's Mom : Joseph developed a short-lived crush on her. This was mainly due to him having just hit puberty and experiencing the onslaught of confusion and distress that comes with it. Bobby is also attracted of her as he admitted to Peggy that he considers Minh to be a very beautiful woman.
Women Are Wiser : Mostly averted; she's greedy, ambitious and kind of a jerkass just like her husband, although she is slightly more willing to interact with her neighbors than Kahn is. She's much more accepting of Bobby and Connie's relationship than Khan, though; in "Father of the Bribe", when it looks like they might break up, Minh tells Connie how she and Khan met and that, despite their differences, she knew he was right for her, and that the only person who knows if Bobby is right for Connie is Connie herself.
Kahn "Connie" Souphanousinphone, Jr.
The overachieving daughter of Kahn and Mihn. Voiced by Lauren Tom .
Plucky Girl : In "The Redneck on Rainey Street", Hank mentions to Kahn how hard Connie has been working while her parents gave up. In his words, "you couldn't bring that girl down with you if you tried."
Strickland Propane
Hank's selfish, slacking, and borderline abusive boss at Strickland Propane. Voiced by Stephen Root.
The Alcoholic : One of his many, many vices.
Bad Boss : Any time he takes an active hand in his own business, he starts running it into the ground, needing Hank to bail him out. For example, putting Vickers in charge when he's in the hospital, and making Hank feed his hounds.
Inherently Funny Words : "Infarction."
Karma Houdini : The worst offender of this was when he tried to pin Debbie's murder on Hank by planting fake evidence against the latter when he wasn't looking only to diverge the attention on his wife. However, when it's found out Hank nor Buck's wife murdered anybody, Hank doesn't call him out on it.
Kavorka Man : He's old, bald, fat, and a general scumbag. But he pulls in an astounding amount of tail. Though as Buck himself explains: "I'm not much to look at, but I've got a lot of money!"
Laser-Guided Karma : In "Fun With Jane and Jane" he tries to make Hank kill some emus that he bought. They escape, and in the final scene find Buck and attack him.
Like Father, Like Son : His son Jody (or Ray-Roy) inherited his daddies appetite for booze and women. Along with his business acumen.
Pet the Dog : After he and his long-lost son drives Hank to drink himself stupid (and ruining his induction), not only does he sets up the committee to blackmail them in order to save Hank's career, but also gets Hank inducted into the "Hall of Flame."
The Rival : M.F. Thatherton, who used to work for him before branching out on his own.
Stupid Boss : Hank is pretty much the only reason why his company is still running. Buck is thoroughly aware of this, however, and more than a few episodes involve him pushing Hank to edge with his antics only to realize he is about to kill his "Golden Goose" (as he referred to Hank in one episode) and immediately start taking steps to get back in Hank's favor. The fact that Buck makes an effort to get Hank to forgive him is probably why Hank idolizes him despite having many similarities with Cotton.
Joe Jack
A coworker of Hank's, the driver of one of Strickland's propane delivery trucks, known as a "Bobtail".
The Alcoholic : He's got a bit of a drinking problem, usually when he gets stressed.
Catch Phrase : Calling anyone he talks to "Honey" regardless of gender or their relationship with him. Could also be a Verbal Tic .
Disproportionate Retribution : In one episode, Buck makes the Strickland employees stay at the office overnight as a team-building exercise. While no one's exactly thrilled with the idea, Joe Jack suggests murdering Buck in all evident seriousness.
Noodle Incident : Was kicked off the Zephyr softball team for doing something unspeakable at the Taco Bueno.
Two First Names : Both his first and last name can be used for the given name of a man.
Vocal Evolution : His voice was a lot higher when he first appeared.
Enrique
Hank's Mexican-American coworker. Usually a background character, but gets a few focus episodes in later seasons. Voiced by Eloy Casados and Danny Trejo .
Abhorrent Admirer : Not as bad as Bill, but he likes Hank a lot more than vice versa.
Annoying Laugh : That sounds halfway between a laugh and a cough.
Ascended Extra : Started off as a random bobtail driver. Eventually, he became a regularly appearing employee.
Fun Personified : He lives for the good times, spending most of his cash on parties (and funerals). Because of this he has no savings as he blows through his paychecks.
Negative Continuity : In "Enrique-cilable Differences", Enrique has a rocky marriage, and his children are implied to have grown up and moved out. In "Lady and Gentrification," he has a loving wife and a 15 year old daughter (unless that's a second wife and a stepdaughter he treats like a real daughter, but that doesn't seem likely).
The Thing That Would Not Leave : "Enrique-cilable Differences."
True Companions : It's mostly one sided, but Enrique considers Hank to be his best friend and he asks him to speak at his daughter's quinceanera. Hank would prefer a professional relationship with him, and is reluctant to speak at the quinceanera. Eventually, Hank grows to be good friends with Enrique and his daughter, and even saves him from being forced to move, due to Peggy's selling homes in Enrique's neighborhood to hipsters forcing the rents sky-high.
Ugly Guy, Hot Wife : Lampshaded in that he's always told his wife how beautiful she is yet he never gets this feedback.
Debbie Grund
One of the employees at Strickland and Buck's mistress up until Season 4 when she attempted to kill Buck for calling off their affair and ended up dying instead. Voiced by Reese Witherspoon .
Abhorrent Admirer : To Hank, although it ping pongs back and forth between her being genuinely attracted to him and her just trying to get on his good side for pragmatic reasons.
Character Death : Accidentally shoots herself while trying to climb into a dumpster.
Character Exaggeration : In her first appearance, she was merely a somewhat lazy employee that Buck, and at least one other employee, liked to ogle; there was no indication that she was intentionally trying to seduce anyone. From Season 3 onward, it was established that she had a sexual relationship with Buck.
The Mistress : It's pretty much her entire character until her last appearance.
Self-Disposing Villain : Accidentally shot herself, which simultaneously solved the problems she was causing Hank and Buck.
Suddenly Voiced : Season 4. She did speak once in Season 3, but was not actually present in the scene.
Thanatos Gambit : Invoked completely by accident. Her unintentionally shooting herself created problems for all three of her personal enemies, Hank, Buck, and Miz Liz, due to them becoming the prime suspects.
Too Dumb to Live : She accidentally killed herself by putting Buck's loaded shotgun, which didn't have the safety on, in the dumpster first and stepping on the trigger. This was all because she didn't think to set down her nachos first.
Donna (from accounting)
A curvaceous, slight spacy woman who works as Strickland Propane's accountant. Voiced by Pamela Adlon.
Anything That Moves : She's apparently slept with every one of her male co-workers except Hank, and it's implied she's slept with at least one woman.
Bunny-Ears Lawyer : Lazy and self-absorbed, but very good at web design and social networking.
A Day in the Limelight : She gets her own episode where she basically signs up Strickland Propane for a very lewd MySpace account which she then goes crazy with it.
The Ditz
Dude, Where's My Respect? : Her main motivation in "Lost in MySpace": she just wants Hank and Buck to recognize her talents rather than make her do work she's not qualified for. That she goes way overboard kind of negates her point.
Hartman Hips : She's got these and then some.
Roger "Booda" Sack
A standup comedian who ends up working at Strickland Propane. Voiced by Chris Rock in his first appearance ("Traffic Jam") and by Phil LaMarr for the rest of the series.
Adam Westing : Chris Rock as a provocative, motormouthed comedian?
The Alcoholic : Implied in "Lost in MySpace."
"I was 30 days sober!"
Berserk Button : Do not insult his mother.
Black and Nerdy : He's the most tech-savvy Strickland employee, as evidenced in "Grand Theft Arlen" and "Lost in MySpace."
Demoted to Extra : After his first appearance, he's lucky to get a line or two.
Noodle Incident : Wound up in Arlen after "getting risqué on Moesha ." It's implied he's teaching traffic school for community service.
Recurring Extra : At first he's just a vehicle for Chris Rock's guest appearance. He appears in some later episodes as well.
Vitriolic Best Buds : Becomes this with Hank by the end of "Traffic Jam."
Your Mom : His favorite mode of insult.
Other Characters
John Redcorn III
A Native American masseuse, one time rock musician, and biological father of Joseph. Voiced by Victor Aaron, and Jonathan Joss.
Aesop Amnesia : In Season 4, the affair ends when Nancy starts falling back in love with Dale and when John Redcorn feels guilty about betraying Dale's trust when he's only ever been a good friend (and helped John Redcorn get documents that would eventually help him reclaim his peoples' land). In Season 11, he seems to have forgotten about all this and is eager to rekindle things with Nancy.
Berserk Button : Do not imply a sexual attraction to Nancy in front of him.
Character Development : John Redcorn started out as a double-barreled running gag: one about his affair with Nancy, the other about his mystical Indian side. As the show went along (especially after "Nancy's Boys") he became a fairly well-rounded character, with interests and hobbies (Indian rights, his musical career) outside of womanizing. Some of his later appearances don't even reference Nancy or Joseph.
Dreadful Musician : When he tries to do hard rock with his band Big Mountain Fudgecake. However, in its focus episode, John Redcorn becomes a popular childrens' entertainer by playing acoustic and rewriting his lyrics.
Everyone Has Standards : John Redcorn may be a womanizer but he won't sleep with the wives or relatives of his friends. He tells Hank as much in "Peggy's Headache." Also, after Dale proves his friendship by helping him with a lawsuit, John Redcorn decides to break up with Nancy.
Full-Name Basis : He is never referred to as just John. It is always John Redcorn.
Heel Realization : Early in the series he thinks Dale is an annoying idiot and shamelessly sleeps with his wife, but once he discovers their shared hatred of the government they quickly become friends and he realizes his affair with Nancy is wrong.
Hypocrite : In "Arrow Head", he tells Hank that it's wrong to take something that isn't yours from someone else (referring to a Native American artifact Hank found in his lawn). Nancy then calls him back in to continue their affair. John Redcorn embarrassingly returns the artifact to Hank and tells him "just food for thought" and goes back into his house.
Ink-Suit Actor : It's rumored that he was modeled after Victor Aaron (the original voice actor who died before he can record any later episodes).
Laser-Guided Karma : John Redcorn is paying for the fourteen years he slept with Nancy by watching his biological son be raised by Dale. He makes mention about loathing having to watch his son raised by an idiot, although Dale is actually an incredibly loving father even if he's a conspiracy freak. By the time the affair with Nancy ended though, it's pretty clear that even though John Redcorn is the biological father, Joseph is Dale's son regardless, and saying anything now would just destroy both Joseph and Dale.
Pet the Dog :
While largely portrayed as unsympathetic during the first three seasons, he is one of the first people to try and stop Leanne from assaulting Peggy in Season 2.
While still having an (unrepentant) affair with another man's wife for over a decade, John Redcorn still tries to be something of a father to Joseph, and ultimately accepts it's better not to tell him the truth, since Dale (for all his flaws) is a better father.
In "The Witches of East Arlen," he learns of Bobby's "warlock" friends making him drink dog blood for a ceremony. His first instinct is to drive over to Hank's place and help him find Bobby.
Really Gets Around : Admits as much to Hank in Season 3. Nancy finds out about this in Season 12 and, even though their affair has long been over, doesn't take it well.
Ungrateful Bastard : Defied. After Dale offers to help him get some of his tribe's land returned to him, he ends his affair with Nancy realizing that it would be awful way to repay a man he considers to be a friend.
M.F. Thatherton
Former Strickland Propane employee, now Buck's business opponent and mortal enemy. Voiced by Burt Reynolds, and then Toby Huss.
Badass Mustache : A classic horseshoe-style moustache to really tie the whole cowboy theme together.
Corrupt Hick : Maybe even more than Buck.
Evil Counterpart : He is Strickland's according to Hank, in reality they're Not So Different . His business, Thatherton Fuels, is a better example being an evil counterpart to Strickland Propane as they rely heavily cutting corners and gimmicky marketing tactics towards gaining sales compared to Strickland Propane's focus on quality customer service.
Meaningful Name : In "The Company Man", Hank assumes that M.F. stands for "Mother Fucker", when Thatherton interrupts Hank and tells his potential client that it stands for "My Friend." Word of God says that it actually stands for Milton Farnsworth.
Nice Hat : Never seen without his cowboy hat.
Not So Different : With his rival and former employer, Buck.
The Rival : With Buck and, to a lesser extent, Hank.
Say My Name : Hank will utter "Thatherton!" when he appears, narrowing his eyes at him angrily.
Ted Wassonasong
Wealthy Laotian businessman, and object of Kahn's borderline worship. Voiced by Mike Judge.
The Ace : He's a rich, successful business owner.
Affably Evil : He's polite and charming, but he's always the main antagonist in his appearances. He might not be so bad if he wasn't such a greedy, self-centered jerk.
Evil Counterpart :
His family seems to exist as one for Kahn, Minh, and Connie. The three of them are obviously more Americanized by contrasting their accents, and they're much more successful then Khan's family. Yet they seem to lack any actual morals. Chane is an egotistical spoiled wannabe whereas Connie is an intelligent Plucky Girl who wants to be a regular kid.
Ted is also even more judgemental, snobby, and self-absorbed as Kahn, but hides it under an overly-polite facade whereas Khan is openly a jerk.
Hypocrite : Once guilt-tripped Kahn into thinking he's betrayed his heritage, yet converted from Buddhism to Protestant Christianity because it's "good for business." He justifies his materialist lifestyle by telling Kahn, "I own all of these things, but they don't own me." Also in "Trans-fascism", he gets trans-fats banned from Arlen and then gladly patronizes the illegal food truck operated by Buck. When Hank asks about this, Ted smugly says that he has the discipline to handle it.
Karma Houdini : Ted usually gets out of any punishment any time he does something wrong, save for a moment in "Trans-fascism", when both he and Kahn are beaten up by Rooster's crew for going to the Sugarfoot's lunch truck.
Rail Enthusiast : Has a room with a model train layout in his house.
Straw Hypocrite : He does not live up to any of the standards he holds everybody else in the world to. He rarely gets called on it, but when he does, he always has an excuse ready.
Ugly Guy, Hot Wife : Balding, skinny and not terribly attractive. Cindy, on the other hand, is definitely pretty.
Chane Wassonasong
Ted and Cindy's teenaged son, an overachieving, insufferable jerkass who enjoys tormenting Bobby and pursuing the decidedly uninterested Connie. Voiced by Pamela Adlon.
Abhorrent Admirer : To Connie, who considers him "a boring know-at-all who talks about himself and cheats at miniature golf." Not helped by Kahn and Minh constantly pushing Chane on her.
The Rival : To Bobby.
Token Minority Couple : Seeks to be this with Connie. Parodied in that a big factor in pushing this are Connie's parents, who are unashamedly racist and Chane is one of the only Laotians in Arlen that's Connie's age.
Principal Carl Moss
The world-weary principal of Tom Landry Middle School. Voiced by Dennis Burkley.
The Alcoholic : A functional alcoholic, but an alcoholic nonetheless.
Apathetic Teacher : The Principal version. He's mostly trying to get by doing as little work as possible while swiping whatever bonus he could. He couldn't care less about the students' performance if he tried, unless it involves him nearly losing his job.
Corrupt Hick : Downplayed; he's in the principal game for himself and avoids conflict at any cost, but he's more shady than immoral.
Deadpan Snarker : Years in the education system will do that to you.
Dirty Coward : Once fakes a heart attack to avoid casting the deciding vote at a PTA meeting.
Evil Counterpart : Not evil per se, but a closer look shows him to be an inversion of Hank. Unlike him, Carl has a leading position for a job, is afraid to handle confrontations, and generally favors any sort of personal gain over ethic.
Fat Slob : When your personal habits gross out Bill...
Honest John's Dealership : Many of Carl's ideas to raise money for the schools
Jaded Washout : He was once as confident and competent as Hank, but years of compromising and getting kicked around by the school board and the PTA have really gotten to him.
Laser-Guided Karma : After years of cutting corners and doing the bare minimum, he gets suspended after pretending his low scoring students are learning disabled to get the schools test scores up.
Noodle Incident : Whenever confronted by Hank over something school related, he'll mention one. Like the time he wore a Coonskin Cap through all of seventh grade, or nearly got fired by the school board for growing a ponytail.
Took a Level in Jerkass : At first, Carl's just a hapless, beaten-down bureaucrat. Later on, he becomes more frequently associated with morally shady activities. Like placing students with middling grades in a remedial class to boost test scores ("No Bobby Left Behind"), or helping run a counterfeit clothing ring and selling the merchandise at school ("Bill Gathers Moss").
Ugly Guy, Hot Wife : Somehow manages to hook up with a former Playmate in "Bill Gathers Moss."
Clark Peters
Perpetual Frowner : The rare times he does smile are... not pleasant.
Pointy-Haired Boss : The kids working under him at the racetrack despise him. And with good reason.
Recurring Extra : Usually appears once or twice a season, but rarely gets much screen time.
Too Dumb to Live : He baked his brain staring at the sun, and made the serious error of putting Bobby in danger in front of his dad.
Chris Sizemore
Peggy's boss at Sizemore Realty. Voiced by Chris Elliot.
Affably Evil : He rarely drops that smarmy smile, but he's definitely not a nice man.
Bitch in Sheep's Clothing : On the surface he's a generous and respectable businessman. In reality he's a narcissistic, petty, vindictive old cheat.
It's All About Me : Makes it very clear to Peggy that he's more important than any of his employees.
Manipulative Bastard : His first episode involves getting Peggy fired from the Arlen Bystander, apparently so that he can hire her as a real estate agent. This is one of many examples.
Octavio
Dale's friend, a vaguely criminal character who helps Dale with some of his shadier activities. Voiced first by Danny Trejo , then by Mike Judge, though modeled after Danny Trejo.
Battle Butler : For Dale, though he's really more of a freelancer that Dale hires exclusively.
Cool Old Guy : Has a large tattoo of Rob Zombie on his chest (as opposed to Danny Trejo's tattoo of a beautiful senorita).
Ink-Suit Actor : For Danny Trejo.
Villainy-Free Villain : Deliberately invoked. He looks and acts like a tough criminal, but never does anything more serious than minor fraud (like making Hank smash his fender with a crowbar). In "Redcorn Gambles With His Future," he even seems shocked when he thinks Dale wants him to kill a magician so John Redcorn can perform in his place .
Chuck Mangione
Spokesman for the Mega-Lo-Mart, frequently seen around Heimlich Country. Voiced by Chuck Mangione.
Nice Hat : His black fedora.
Buckley
Luanne's boyfriend and, much to Hank's displeasure, Hank's superior as department manager at Mega-Lo-Mart. Voiced by David Herman.
The Artifact : Remains in the opening credits long after he dies.
The Atoner : His spirit visits Luanne and helps her deal with her grief and get into community college to make up for being such a jerk to her in life.
Bastard Boyfriend : Was certainly emotionally abusive. He treated Luanne like crap through most of the relationship. His idea of a gift were CDs he didn't want anymore. When Luanne needed money, he was holding on to what he had so he could buy a trampoline. Another trampoline. Made even worse was because he had $100 more than what she was asking for.
Catchphrase : "Hey."
Character Death : The sole casualty of the Mega-Lo-Mart explosion.
The Ditz : It's vaguely implied that it's because he's getting high all of the time, but he's probably just an idiot.
Jerkass : He treats Luanne like a nuisance and is crass and rude to everyone else.
Karmic Death : Killed in an explosion after he refuses to listen to Hank's warnings about propane safety.
Lazy Bum : He somehow became the assistant manager of Mega-Lo-Mart's propane department despite spending all of his time goofing off. When he actually does do some work, he botches it horribly and causes the whole Mega-Lo-Mart to explode.
PJ Finster
A One Scene Wonder who appeared in later episodes of the show including "Uncool Customer," "Strangeness on a Train" and "Powder Puff Boys".
Ambiguously Gay : His daughter is clearly an adopted Asian and it is implied in "Strangeness on a Train" that he and Peggy's coworker are on a date. However, he also says "We decided to leave the wives at home tonight" and (jokingly?) makes passes at Peggy in "The Powderpuff Boys", rubbing her shoulders and making a joke about someone bringing a sleeping bag for multiple people at an activity. However when Peggy called out that a person should be gay openly, he seems genuinely interested to find out who this person is and unaware Peggy is referring to him.
Camp Gay / Camp Straight : His sexual orientation is a mystery, but his level of camp is anything but subtle.
Anthony Page
A government employee originally from Los Angeles who has appeared as both a social worker and a legal advisor for civil rights cases. He has attempted to get Bobby taken away from Hank, falsely believing Hank to be an abusive father, and also enforce an ill-advised policy that would force Strickland Propane to accept drug addiction as a disability. He is probably the closest thing King of the Hill has to a recurring villain. Voiced by David Herman.
Knight Templar : He genuinely wants to help people (well, some people), but doesn't realize that his charges don't want or need it, or that his efforts hurt more than help. For instance, when Bobby gets a black eye from softball, he assumes Hank did it and never bothered to check with Bobby's coach.
Nerd : He fits the stereotype, being a pale, twiggy, bespectacled bookworm.
Obstructive Bureaucrat : He pretty much exists to make Hank's life difficult. The worst part is that he's not even good at his job(s); he just seems to like being a nuisance.
Smug Snake : Anthony's condescending and invasive attitude has caused Hank to lose his temper with him on multiple occasions.
Bob Jenkins
One of Peggy's coworkers at the Arlen Bystander, a crusty, one-eyed veteran reporter with a sarcastic sense of humor. He appears a few times after Peggy leaves the Bystander. Voiced by Henry Gibson.
Bi the Way : In his first appearance, he mentions frequenting prostitutes and seems to be a womanizer. In "Strangers on a Train" though, it's hinted that he's dating Camp Gay PJ Finster.
Deadpan Snarker : Sardonic comments are like a second language for him.
Eyepatch of Power : He got it from brain tumor surgery.
Gallows Humor : Jokes about losing his eye when the editor threw a story back in his face.
Intrepid Reporter : A subversion, as it's implied he steals most of his stories from coworkers.
The Rival : To Peggy in a few episodes, namely "Smoking and the Bandit."
Sesquipedalian Loquaciousness : He has a vocabulary Peggy can only dream of. Probably comes from years of inventing headlines.
Reverend Karen Stroup
The pastor of Arlen First Methodist Church, who is originally from St. Paul, Minnesota. Initially voiced by Mary Tyler Moore , then voiced by Ashley Gardner for the rest of the series.
Sexy Priest : To Bill, at least.
Totally Radical : On a few occasions. See her cringe-worthy attempts to seem "with it" in "Reborn to Be Wild."
Officer Brown
A recurring character in later seasons, an Arlen police officer noted for his laziness and corruption. Voiced by Fred Willard.
Dirty Cop : He openly takes bribes from Buck in "Trans-Fascism" and is mentioned as tampering with evidence is one episode.
Ink-Suit Actor : Looks like Fred Willard.
Jaded Washout : Says Principal Moss: "Officer Brown may be a disgraced cop who tampered with evidence, but this here used to be a man." Officer Brown doesn't disagree.
Knight Templar : He's eager to see "action," even when there's none to be had. He once tries to shoot Ladybird during a thunderstorm, after she's been reported as a dangerous dog). He's also a bit too enthusiastic in helping Bobby track down truant Clark Peters and Dooley, though in fairness he's been Reassigned to Antarctica and hasn't done real police work in awhile.
Police Are Useless : When he's not corrupt he's this, responding lackadaisically to serious threats. "New Cowboy on the Block" takes this Up to Eleven , as he's too impressed with Willie Lane's Super Bowl ring to stop him from harassing Hank and Co.
Hank: Why would I tip a car over on my own lawn!?!
Officer Brown: I don't know... it puzzles me.
Reassigned to Antarctica : In one episode he's demoted to policing Tom Landry Middle School.
:: Indexes ::
| i don't know |
On March 4th 1918, the first known case in the US of which pandemic was observed at Fort Riley, Kansas? | flu pandemic of 1918 | Tumblr
flu pandemic of 1918
Reblog
The American Chronic Disease Crises
When the Great Flu Pandemic struck the United States in 1918 and 1919, it caused the deaths of around 700,000 people. According to the CDC, around 900,000 Americans die every year of preventable chronic diseases. Here’s a breakdown of the top ten causes of death in America,
It’s interesting to note that the most common causes of death are preventable chronic diseases. Whereas back in the day the leading cause of death was by virulent disease, today we are making a conscious choice to kill ourselves through bad health and lifestyle decisions. By far heart disease is the biggest killer, in fact today it is the most common cause of death in the world. More than 60 million Americans suffer from it, and 90% of heart disease is preventable. After heart disease is cancer. 30% of cancer cases are preventable. Then there are chronic respiratory diseases, such as COPD, emphysema, and pulmonary fibrosis. This is the one cause of death that is rapidly increasing, soon to overtake all others, with 6.8 million Americans diagnosed with COPD alone. As a respiratory therapist I can tell you that the vast majority of chronic respiratory diseases are preventable. After accidents are stroke, of which 90% are preventable. Finally, listed at number 7 is diabetes. There are two type of diabetes, Type I and Type II. Type I is insulin dependent, where the pancreas does not produce enough insulin to control blood sugar levels. Type II diabetes is called “insulin resistant” diabetes, typically caused by a diet with too much sugar and too much processed carbohydrates. This results in more and more insulin being secreted to control blood sugar levels, eventually causing the body to become resistant to it’s own insulin. Type I diabetes is relatively rare, accounting for 1.25 million people, and only 10% of cases are preventable. Type II diabetes is more prevalent, accounting for 26 million Americans. 90% of Type II diabetes cases are preventable.
We are living in amazing times. At no other time in history have people had the option to make conscious choices to lead a healthy life. Even today in impoverished countries many people still don’t have that option. We are literally killing ourselves. It’s not just America, in most wealthy nations this is a growing trend. But just as we can make a choice to kill ourselves, we can choose life as well. The vast majority of my patients, I would say 90%, are people who are very sick or dying of chronic diseases directly caused by bad health decisions and bad lifestyle decisions, whether it be smoking, obesity, drug abuse, or alcohol abuse. 90% of those people are readmitted on a monthly basis because despite their health problems, they still won’t take care of themselves. The quality of life of these people is often terrible. Many are already dead, they’re just waiting for someone to bury them.
In the past 8 years healthcare has been a hot button political issue, what with Obamacare and all. Many agree that our healthcare system is broken. The reason is obvious, our healthcare system is overwhelmed by the tens of millions of people suffering from preventable chronic diseases, people who require multiple readmissions. I will be honest, no government program or healthcare system is going to fix it. NONE. No insurance system, whether its the private market, Obamacare, or universal healthcare is going to be able to handle it in the long term. But there is a solution, and it begins with the individual, it begins with you and me. We all must take responsibility for our own health. We need to all step up and start taking care of ourselves. We all have our addictions and vices without exception. No matter what your addiction is, food, alcohol, drugs, smoking, even things like sex addiction or gambling addiction, etc., we can either kick these addictions, or they will kick us.
There are three arguments I often hear against what I and others who propose the same often get. People who make these arguments are either in denial or are fools. The first is the “well I have a 95 year old grandpa” argument. The old argument cites some claim that the person knows some person or relative who smoked and drank heavily but lived to a rife old age. Well I can dispel this bullshit easily. For every “95 year old grandpa” example, there are hospitals and nursing homes across the country filled with people who were not so lucky. The second argument is the “well you’re gonna die of something”, which often goes hand and hand with the third argument, the “I don’t wanna live to be old anyway” argument. Well that’s all fine and well that you want to die young. But consider this, what if you don’t? Because after all, most people aren’t dying young, they’re living to be old, even the smokers, drinkers, druggies, and fried food eaters. The difference is that those who take care of themselves have a good quality of life and die well, whereas those that don’t have a terrible quality of life, often dying a horrible death. It’s very rare now a days that smokers die young of cancer, or alcoholics die young of liver failure, or obese people die young of heart disease. With most people with preventable chronic diseases it’s a long downhill slide of illness that spans the course of years, even decades. Of course, you could do everything right and still lose, still contract a degenerative disease like Alzheimer’s or Parkinsons, or you could get hit by a truck tomorrow. Who knows? Tempus Fugit, Moment Mori. Regardless, the fact of the matter is that as an American, chances are that you are going to die of a preventable illness. So the question is, how do you want to die? Do you want to ride off into the sunset, go out with a bang, or do you want a slow, painful death? What kind of quality of life do you want to have before you die? Do you want to spend years, maybe a decade or more having your rotting limbs amputated due to diabetes, barely able to breathe, choking on your own bronchial secretions while waiting for someone to suction you and change your diaper? Or do you want to be like fitness guru Jack Lelane, who was a human beast all his life up to the very day he died at age 96?
So make a commitment today that from here on out you will strive to better yourself, to take charge of your health, to kick your bad habits and become the healthiest person you can be, physically, mentally, and spiritually. Eat healthy foods, stop smoking, stop drinking in excess, exercise, take care of yourself. You will feel so much better, and you will have the pride all your life that you accomplished something great through hard work, sacrifice, discipline, and character. The solution is simple. I didn’t say it was easy, I said it was simple. There’s a big difference.
Never Again 360
| 1918 flu pandemic |
Accounting for up to 25% of the yearly sales, what is the most popular Girl Scout cookie sold? | Historical Events in 1918 | OnThisDay.com
Historical Events in 1918
Events 1 - 200 of 315
Jan 1 Last day of the Julian calendar in Finland
Jan 1 4th Rose Bowl: Mare Island - USMC beats Camp Lewis - US Army 19-7
Jan 2 Dodgers trade Casey Stengel & Cutshaw to Pitts for Grimes & Mamaux
Jan 2 NHL Montreal Wanderers disband after Westmount arena burns down
Jan 3 US Employment Service opens as a unit of the Department of Labor
Jan 5 British premier Lloyd George demand for unified peace
Jan 8 Mississippi becomes 1st state to ratify 18th amendment (prohibition of alcohol) of the US Constitution
Jan 8 US President Wilson outlines his Fourteen Points for peace after the Great War
Event of Interest
Jan 12 Montreal Canadien Joe Malone scores 5 goals beating Ottawa 9-4
Ice Hockey Player
Jan 12 Finland's "Mosaic Confessors" law went into effect, making Finnish Jews full citizens.
Jan 14 Finland & USSR adopt New Style (Gregorian) calendar
Jan 16 Austria and Germany are disrupted by strikes as people express impatience with leaders continuing the war
Jan 19 Soviets disallow a Constitution Assembly
Jan 19 Finnish Civil War: The first serious battles between the Red Guards and the White Guard.
Jan 22 Ukraine proclaimed a free republic (German puppet)
Jan 25 Russia declared a republic of Soviets
Event of Interest
Jan 26 Herbert Hoover , US Food Administrator, calls for "wheatless" & "meatless" days for war effort
31st US President
Jan 27 "Tarzan of the Apes", 1st Tarzan film, premieres at Broadway Theater
Jan 27 The first hostilities occurred in the Finnish Civil War.
Jan 28 Strike on Berlin ammunition factory
Jan 28 Finnish Civil War: Rebels seized control of the capital, Helsinki, and members of the Senate of Finland go underground.
Jan 29 Ukrainian-Soviet War: Battle of Kruty
Jan 31 A series of accidental collisions on a misty Scottish night leads to the loss of two Royal Navy submarines with over a hundred lives, and damage to another five British warships.
Feb 1 Franz Lehar's opera "Wo die Lerche singt" premieres in Budapest
Feb 1 Kern, Bolton & Wodehouse's musical premieres in NYC
Feb 1 Russia adopts Gregorian calender (becomes Feb 14)
Feb 3 Twin Peaks Tunnel longest (11,920 feet) streetcar tunnel begins service
Feb 5 1st US pilot to down an enemy airplane, Stephen W Thompson
Feb 5 Separation of church & state begins in USSR
Feb 6 Britain grants women (30 & over) vote
Feb 8 "Stars & Stripes,", weekly US armed forces newspaper, 1st published
Feb 9 US Army chaplain school organizes at Ft Monroe, Va
Feb 9 Sacha Guitry's "Deburan" premieres in Paris
Event of Interest
Leon Trotsky
Feb 10 In Finland, General Carl G. Von Mannerheim gathers an army known as the 'White Guard' to mount a counter revolution against the Bolshevik 'Red Guard'
Feb 11 US President Wilson makes another speech before Congress and announces 'the Four Principles' - freedom of navigation, and end to secret diplomacy, and similar items - that supplement his Fourteen Points
Feb 14 H Atteridge & S Rombergs musical "Sinbad," premieres in NYC
Feb 14 USSR adopts New Style (Gregorian) calendar (originally Feb 1)
Feb 15 US army troop ship torpedoed & sunk by Germany off Ireland
Feb 15 Estonia, Latvia & Lithuania adopt Gregorian calendar
Feb 16 Lithuania declares independence from Russia & Germany (National Day)
Feb 18 Germany renews its offensive against the Russians, making dramatic gains against disorganized and dispirited Russian troops
Feb 21 Australians chase Turkish troop out of Jericho, Dutch Palestine
Feb 21 The last Carolina parakeet dies in captivity at the Cincinnati Zoo.
Feb 22 Germany claims Baltic states, Finland & Ukraine from Russia
Feb 23 First victory of Red Army over the Kaiser's German troops near Narva and Pskov. Since 1923 this date become the Day of Red Army in honour of this victory.
Feb 24 Estonia declares independence from Russia
Feb 26 Stands at Hong Kong Jockey Club collapse & burn, killing 604
Mar 2 NY Yankees purchase 1st baseman George Burns from Detroit Tigers & immediately trades him to Philadelphia A's
Mar 3 Richard Goering's "Seeschlacht" premieres in Berlin
Mar 3 Facing pressure from internal counterrevolutionary forces and an external German offensive, the Bolsheviks are forced to signs the harsh Treaty of Brest-Litovsk with Germany and Austria
Mar 4 Terek Autonomous Republic established in RSFSR (until 1921)
Mar 4 First recorded case of Spanish flu at Funston Army Camp, Kanas; start of worldwide pandemic killing 50-100 million
Mar 6 US naval boat "Cyclops" disappears in Bermuda Triangle
Mar 7 H Carroll & J McCarthy's musical "Oh, Look!" premieres in NYC
Mar 7 Pres Wilson authorizes US Army's Distinguished Service Medal
Mar 7 World War I: Finland forms an alliance with Germany.
Mar 9 Russian Bolshevik Party becomes the Communist Party
Mar 9 Ukrainian mobs massacre Jews of Seredino Buda
Mar 9 Wageningen Agricultural College Neth opens
Mar 11 Moscow becomes capital of revolutionary Russia
Mar 11 Save the Redwoods League founded
Mar 11 First confirmed cases of the Spanish Flu in the US are reported at Fort Riley, Kansas.
Mar 13 Trotsky gains control of the Red Army
Mar 13 American Red Magen David (Jewish Red Cross) forms
Mar 13 1st NHL championship: Mont Canadiens beat Toronto Arenas, outscoring them 10-7 in a 2 game set
Mar 14 1st concrete ship to cross the Atlantic (Faith) is launched, SF
Mar 16 Geoffrey O'Hara's "K-K-K-Katy" song published
Mar 17 US Ladies' Figure Skating championship won by Rosemary Beresford
Mar 17 US Men's Figure Skating championship won by Nathaniel Niles
Mar 18 Soccer team SON OF Meerssen forms
Mar 18 Socialist Youth AJC organizes in Amsterdam
Mar 19 US Congress authorizes time zones & approves daylight saving time
Mar 19 S Potter becomes 1st US pilot to shoot down a German seaplane
Mar 21 -28] During WW I Germany launches Somme offensive
Mar 23 Alick Wickham dives 200' into Australia's Yarra River
Mar 23 Crépy-en-Laonnoise: German artillery shells Paris, 256 killed
Mar 23 Lithuania proclaims independence
Mar 23 Paris bombs "Thick Bertha's Dike" (nickname for the widow Krupp)
Mar 23 German forces advance 14 miles to the Somme River (WW1)
Mar 25 The Belarusian People's Republic is established.
Mar 27 Moldova and Bessarabia join Romania.
Mar 30 Stanley Cup: Toronto Arenas (NHL) beat Vancouver Millionaires (PCHA), 3 games to 2
Mar 31 1st daylight savings time in US goes into effect
Event of Interest
Apr 1 United Kingdom: the Royal Air Force is created from the Royal Naval Air Service and the Royal Flying Corps.
Apr 3 US House of Representatives accepts American Creed written by William Tyler
Apr 9 Latvia proclaims independence
Apr 13 Electrical fire kills 38 mental patients at Oklahoma State Hospital
Apr 14 Douglas Campbell is 1st US ace pilot (shooting down 5th German plane)
Apr 15 Clemenceau publishes secret French/Austrian documents
Apr 16 The British House of Commons passes a new Military Service Bill, taking men up to 55 years old and extending to Ireland
Apr 18 Cleveland center fielder Tris Speaker turns an unassisted double play
Event of Interest
Apr 20 Manfred von Richthofen, aka The Red Baron , shoots down his 79th and 80th victims marking his final victories before his death the following day.
World War I Fighter Ace
Apr 23 Battle of Zeebrugge ends
Apr 23 Dover Patrol overthrows Germany U-boat in East Sea
Apr 23 National Urban League forms
Apr 27 Giants' 9-0 winning start & Dodgers' 0-9 losing streak are stopped
Apr 29 Tris Speaker ties career outfield record of 4 unassisted double plays
Apr 30 Orange Nassau soccer team forms in Groningen
May 2 General Motors acquires the Chevrolet Motor Company of Delaware.
May 4 Yankees set record with 8 sacrifices, beat Red Sox's Babe Ruth 5-4
May 10 HMS Vindictive sunk to block entrance of Ostend Harbor
May 11 44th Kentucky Derby: William Knapp on Exterminator wins in 2:10.8
May 13 1st US airmail stamps issued (24 cents)
May 14 Sunday baseball is made legal in Washton, DC
May 15 1st airmail postal service (NY, Philadelphia & Washington, D.C.)
May 15 1st regular airmail service (between NY & Wash) inaugurated
May 15 43rd Preakness: Johnny Loftus aboard War Cloud wins in 1:53.6
May 15 Greeks troops lands at Smyrna
Event of Interest
Walter Johnson
May 15 The Finnish Civil War ends.
May 16 The Sedition Act of 1918 is passed by the U.S. Congress, making criticism of the government an imprisonable offense.
May 18 Dutch Indian Volksraad installed in Batavia
May 18 TNT explosion in chemical factory in Oakdale, Pennsylvania, kills 200
May 19 Wash 1st Sunday game, Senators beat Cleveland 1-0 in 18 innings
May 20 1st electrically propelled warship (New Mexico)
May 21 US House of Representatives passes amendment allowing women to vote
May 23 King Oil/Shell refinery on Curacao officially opens
May 24 Cleveland Indians Stan Coveleski sets club record for most innings pitched (19)
May 24 Cleveland beats Yankees 3-2 in 19th inning
May 24 British officer General Poole lands at Murmansk, the Russian port on the Barents Sea
May 26 Georgian Social Democratic Republic declares independence from Russia
May 26 Armenia defeats the Ottoman Army in the Battle of Sardarapat.
May 27 Third Battle of Aisne: German offensive overcomes British forces (WWI)
May 28 Azerbaijan gains independence and declares itself a Democratic Republic
Jun 1 Excelsior Maassluis soccer team forms in Maassluis
Jun 1 White Sox losing 5-4 against NY Yankees, load the bases in 9th with no outs Chick Gandil lines to Frank Baker who turns a triple play
Event of Interest
Jun 1 Canadian ace Billy Bishop downs 6 aircrafts over a three-day span, including German ace Paul Bilik, reclaiming his top scoring title from James McCudden
Canadian First World War Flying Ace
Billy Bishop
Jun 3 US Supreme Court in Hammer v. Dagenhart rules child labor laws unconstitutional
Jun 4 French troops, with the aid of US troops, stop the Germans at Chateau-Thierry as they attempt to cross the Marne
Jun 6 Battle of Belleau Wood, 1st US victory of WW I
Jun 8 Nova Aquila, brightest nova since Kepler's nova of 1604, discovered
Jun 12 1st airplane bombing raid by an American unit, France
Jun 13 Phillies & Cards tie 8-8 in 19 innings
Jun 15 1" of snow falls in Northern Pennsylvania
Jun 15 50th Belmont: Frank Robinson aboard Johren wins in 2:20.6
Jun 22 Circus train rammed by troop train kills 68 (Ivanhoe Illinois)
Jun 22 32nd U.S. Women's National Championship: Molla Bjurstedt beats Eleanor Goss (6-4, 6-3)
Jun 23 Boston Red Sox Dutch Leonard's 2nd no-hitter beats Tigers, 5-0
Jun 25 Baku-Turkish communist party forms
Jun 26 The Australian steamer Wimmera is sunk by a mine laid north of Cape Maria van Diemen in 1917 by the German raider Wolf; 26 of its 151 passengers and crew were killed
Jun 28 1st flight between Hawaiian Islands
Jun 29 A provisional government opposed to the Bolsheviks establishes itself at Vladivostok, the Russian port on the Sea of Japan
Jun 30 Prominent US Socialist and Pacifist Eugene Debs is arrested on charges of denouncing the government, a violation of the Espionage Act of 1917
Jul 3 SDAP'er Suze Groenweg elected 1st woman in Dutch parliament
Jul 4 Altar dedicated at full-scale replica of Stonehenge at Maryhill, Wa
Jul 4 Ottoman sultan Mehmed VI ascends to the throne.
Event of Interest
Jul 8 Babe Ruth 's blast over the fence in Fenway scores Amos Strunk, the Red Sox win 1-0 over Cleve, prevailing rules reduce Babe's HR to a triple
Baseball Legend
Babe Ruth
Jul 9 101 killed & 171 injured in worst US train wreck, Nashville, Tenn
Jul 9 US Congress creates Distinguished Service Medal (not to be confused with other countries' decorations of the same name)
Jul 10 Russian Soviet Federal Socialist Republic forms
Jul 12 Japanese battleship explodes in Bay of Tokayama, 500 killed
Jul 14 Dutch government reclaims South seas
Jul 15 World War I: Second Battle of Marne begins
Event of Interest
Jul 16 A Bolshevik firing squad at Ekaterinburg, Siberia, executes Tsar Nicholas II of Russia and his family
Tsar
Jul 17 Longest errorless game, Cubs beat Phillies 2-1 in 21 innings
Jul 18 World War I: US and French forces launch Aisne-Marne offensive
Jul 19 World War I: German armies retreat across Marne River in France
Jul 19 Wash catcher Eddie Ainsmith applies for deferment from the draft Sec of War Newton D Baker rules baseball players are not draft exempt
Jul 21 U-156 shells Nauset Beach, in Orleans, Massachusetts.
Jul 22 Lightning kills 504 sheep in Utah's Wasatch National Park
Jul 25 Annette Adams sworn in as 1st woman district attorney of US, Calif
Jul 25 Race riot in Chester Pennsylvania (3 blacks & 2 whites killed)
Jul 26 Race riot in Philadelphia (3 whites & 1 black killed)
Jul 27 Socony 200, 1st concrete barge in US, launched to carry oil, NY
Aug 1 British troops enter Vladivostok
Aug 1 Pittsburgh Pirates beat Boston Braves, 2-0, in 21 innings
Aug 2 Japan announces that it is deploying troops to Siberia in the aftermath of World War I.
Aug 3 The first allied troops land at Archangel, the Russian port on the White Seas
Event of Interest
Aug 4 Adolf Hitler receives the Iron Cross first class for bravery on the recommendation of his Jewish superior, Lieutenant Hugo Gutmann
Dictator of Nazi Germany
Aug 6 Ferdinand Foch becomes Marshal of France during WWI
Aug 6 World War I: Second Battle of the Marne ends
Aug 8 WW I: The Battle of Amiens begins - Canada/Australian/British breakthrough with 600 tanks
Aug 8 6 US soldiers surrounded by Germans in France, Alvin York given command, shoots 20 Germans & captures 132 more
Aug 9 Reds manager Christy Mathewson suspects Hal Chase of taking bribes to fix games, and suspends him "for indifferent play"
Aug 12 WW I: Allies defeat Germans at the Battle of Amiens - the last great battle on the Western Front
Aug 13 Bayerische Motoren Werke AG (BMW) established as a public company in Germany
Aug 15 1st full length cartoon (Sinking of Lusitania)
Aug 16 US troops overrun at Archangelsk by Bolshevik troops
Aug 17 British troops attack Baku, Azerbaijan
Aug 17 Samuel Riddle buys Man o'War for $5,000
Aug 17 Turkish troops overthrow Caukasus
Aug 17 Bolshevik revolutionary leader Moisei Uritsky is assassinated
Music Premiere
Aug 20 WW I: Britain opens offensive on Western front
Aug 24 Chicago Cubs, win earliest pennent ever (season ended Sept 2)
Aug 24 Sect Baker grants extended exemption to World Series players
Aug 26 W Smith & F Bacon's "Lightnin'" premieres in NYC
Aug 27 Christy Mathewson resigns as Reds manager to accept a commission as a captain in chemical warfare branch of Army
Aug 27 Dr Joseph L Johnson named as US minister to Liberia
Aug 28 Tris Speaker suspended for season due to assault on ump Tom Connolly
Aug 29 Bapaume taken by Australian Corps and Canadian Corps in the Hundred Days Offensive
Aug 30 Czechoslovakia forms independent republic
Assassination Attempt
| i don't know |
March 9, 1959 saw the introduction of what Mattel favorite, an 11.5 inch tall fashion doll which saw controversy when a later talking model exclaimed such phrases as “Will we ever have enough clothes?”, and “Math class is tough!”? | Ms Dolce
Ms Dolce
I am a fashion addict!!
Saturday, July 12, 2008
A Profile Of Fashion Designer Betsey Johnson
“Making clothes involves what I like…color, pattern, shape and movement…I like the everyday process…the people, the pressure, the surprise of seeing the work come alive walking and dancing around on strangers. Like red lipstick on the mouth, my products wake up and brighten and bring the wearer to life…drawing attention to her beauty and specialness…her moods and movements…her dreams and fantasies.” – Betsey Johnson
New York designer Betsey Johnson has built her long-standing career in fashion by following her own set of rules. Known for her celebration of the exuberant, the embellished, and the over the top, Betsey has been rocking the fashion industry with her unique and original designs since the 1960’s. Her commitment to remain true to her one-of-a-kind vision has afforded Betsey continued success in an industry known for its fickleness. Her ability to change with the times while keeping her designs pure has not gone unnoticed. At the 1999 CFDA Awards, Betsey was presented The Timeless Talent Award created especially for her, which recognized her influence on fashion throughout her career.
Betsey was born in Connecticut and spent her childhood in dance classes. Her aspirations to be a dancer and her love for costumes laid the foundation for Betsey’s creativity and inspiration, which is still evident in her designs today. In 1964, Betsey officially entered the New York fashion scene by winning Mademoiselle magazine’s “Guest Editor Contest.” One year later, she landed the top designer position for Paraphernalia, a clothing boutique that at the time housed the hottest young London designers, including Mary Quant and Paco Rabanne, among others. What would soon become known as Betsey’s trademark look began its formulations here: sexy silhouettes, hippie inspired flowing fabrics, whimsical detailing and, most importantly, a fabulous fit.
After a decade of designing for other labels, Betsey decided to make a dramatic change in her life and in 1978, she formed a partnership with Chantal Bacon and started the Betsey Johnson label, as it is known today. Designing for herself allowed Betsey the creative freedom to execute her vision to it’s fullest potential. The same year Betsey and Chantal launched their first retail store in the heart of Soho. In the early 80’s, they were one of the first to open a store on Melrose Avenue in Los Angeles, helping the street to gain its worldwide recognition as one of the best shopping areas of the 1980’s. Today there are over fifty Betsey Johnson stores worldwide. International expansion came in 1998 with the opening of the wildly popular London store. In 1999 the Vancouver store opened its doors and Toronto opened in early September 2003. In September 2006, the first Betsey Johnson store opened in Japan. Betsey Johnson clothing is also available in better department stores as well as in specialty stores throughout the country, and in Europe and Asia.
Biography
New York designer Betsey Johnson has built her long-standing career in fashion by following her own set of rules. Known for her celebration of the exuberant, the embellished, and the over the top, Betsey has been rocking the fashion industry with her unique and original designs since the 1960’s. Her commitment to remain true to her one-of-a-kind vision has afforded Betsey continued success in an industry known for its fickleness. Her ability to change with the times while keeping her designs pure has not gone unnoticed. At the 1999 CFDA Awards, Betsey was presented The Timeless Talent Award created especially for her, which recognized her influence on fashion throughout her career.
Betsey was born in Connecticut and spent her childhood in dance classes. Her aspirations to be a dancer and her love for costumes laid the foundation for Betsey’s creativity and inspiration, which is still evident in her designs today. In 1964, Betsey officially entered the New York fashion scene by winning Mademoiselle magazine’s “Guest Editor Contest.” One year later, she landed the top designer position for Paraphernalia, a clothing boutique that at the time housed the hottest young London designers, including Mary Quant and Paco Rabanne, among others. What would soon become known as Betsey’s trademark look began its formulations here: sexy silhouettes, hippie inspired flowing fabrics, whimsical detailing and, most importantly, a fabulous fit.
Now firmly part of what was considered the “Youth Quake,” Betsey soon found herself in the unforgettable 1960’s Warhol scene. Edie Sedgwick was her house model, while the Velvet Underground’s John Cale took to wearing her designs both on-stage and off. In 1969, Betsey began her foray into retail by opening a new boutique called Betsey Bunki Nini. Directly following the opening store Betsey was offered a job from Alvin Duskin in San Francisco and thus began living a bi-coastal life for the remaining years of the 60’s.
Along with the new decade came new career opportunities for Betsey and in the early 1970’s, she came into creative control of the label Alley Cat, a label which set the trends for the 70’s rock n’ roll clothing, with bohemian and ethnic styles. In 1972, along with Halston, Betsey won the coveted Coty Award becoming the youngest designer to ever receive the honor.
After a decade of designing for other labels, Betsey decided to make a dramatic change in her life and in 1978, she formed a partnership with Chantal Bacon and started the Betsey Johnson label, as it is known today. Designing for herself allowed Betsey the creative freedom to execute her vision to it’s fullest potential. The same year Betsey and Chantal launched their first retail store in the heart of Soho. In the early 80’s, they were one of the first to open a store on Melrose Avenue in Los Angeles, helping the street to gain its worldwide recognition as one of the best shopping areas of the 1980’s. Today there are over fifty Betsey Johnson stores worldwide. International expansion came in 1998 with the opening of the wildly popular London store. In 1999 the Vancouver store opened its doors and Toronto opened in early September 2003. In September 2006, the first Betsey Johnson store opened in Japan. Betsey Johnson clothing is also available in better department stores as well as in specialty stores throughout the country, and in Europe and Asia.
The year 2003 marked some exciting licensing endeavors for the company, taking Betsey’s signature prints and whimsy to new audiences with categories including shoes and lingerie. She continued this trend and has since added handbags, belts, cold weather accessories, eyewear, watches, jewelry, swimwear, legwear and a fragrance thus effectively emerging as not only a clothing designer but a top American Lifestyle brand.
In late 2002, Betsey was honored with an induction into the Fashion Walk of Fame, honoring her contribution to American fashion. A bronze and granite plaque containing an original sketch, signature and biography was embedded into Seventh Avenue sidewalk in early 2003. In March 2005, the Signature Awards and NAWBO-NYC committee honored Betsey with the 2005 Lifetime Achievement Award. And following that, Betsey received the Lifetime Achievement Award from the Accessories Council in November 2005. Betsey Johnson was recently honored with the Designer of the Year Award at the annual Fashion Accessories Benefit Ball (FABB) in May 2007.
In 2003, while on vacation in Mexico, Betsey bought a magical little hotel, which she named “Betseyville” and proceeded to turn it into a dream vacation home, where she regularly visits to work and get inspired. She fell so in love with the culture and surroundings that in 2004, Betsey purchased a second house in Mexico, this one dubbed “Villa Betsey.” Always loving a home project Betsey decided to turn Betseyville into an estate for rent to the public and chose Villa Betsey to become her main home in Mexico. Both homes abound with Betsey’s signature touches can be seen when “Betseyville” was exclusively featured in In Style Homes in April 2005 and on http://www.www.betseyville.com/ .
A survivor of breast cancer, Betsey continues to be a strong advocate in the fight against the disease, making public appearances, participating in numerous fund raising events and creating one-of-a-kind items that have been auctioned off to raise funds for various charities. In 2003, the CFDA asked her to be an Honorary Chairperson for the Fashion Targets Breast Cancer initiative, which she graciously accepted. In April of 2004, she was awarded another honor by the National Breast Cancer Coalition (NBCC) for her continuous fight against Breast Cancer at a prestigious ceremony hosted by Ron Perlman. In Spring of 04, she teamed up with Geralyn Lucas, the author of the book “Why I Wore Lipstick...to my Mastectomy,” designing an accompanying t-shirt which was launched in Betsey Johnson stores nationwide in October 2004 at a series of events called “Courage Nights.” Courage Night continued for its second year in October 2005 where CFDA Fashion Targets Breast Cancer and SELF Magazine joined the cause.
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Fun Romance Novelists To Read!
Eloisa James
Great Movies With Fantastic Fashion
Breakfest At Tiffanys
Celebriteis With Their Own Fashion Line
Alyssa Milano-Touch
Kimora Lee Simmons- Baby Phat
Mandy Moore-Mblem
Mary-Kate and Ashley Olsen- Mary-Kate and Ashley Brand
Nicky Hilton-Chick
Victoria Beckham- VB Rocks & DVB
Current Fashion Trendsetters
The Mike and Juliet Show
The Tyra Banks Show
Best Makeover and Fun Shows To Watch
10 Years Younger (TLC)
Rich Bride Poor Bride (WE)
Say Yes To The Dress (WE)
What Not To Wear (TLC)
Which Single And Young Bachelors Would You Date?
Are leggings making a comeback?
Favorite Stylists
Cristina Ehrlich and Estee Stanley
Jessica Pastor
Stacey London and Clinton Kelly (TLC What Not To Wear)
Blog Archive
newyork1
I am in LOVE with Fashion!!! Fashion is my passion!! One day I am going to rule the fashion industry!! Anna Wintour will wish she was me!! She better watch out because I am going to be the next editor and chief of Vogue!!
60's Fashion!!
What To Wear To A Wedding
Weddings are always fun. But sometimes one might not know what to wear. I went to fashion.about.com to find out what to wear to a wedding!
Wedding Guest Style for Her
Informal Daytime: Short dress or suit (business attire OK for morning weddings)
Informal Evening: Cocktail dress
Semi-Formal Daytime: Short dress or suit
Semi-formal Evening: Cocktail dress
Formal Daytime: Short dress or suit. Hats and gloves optional.
Formal Evening or Black-Tie: Long or dressy short cocktail (beading, glam accessories, wrap)
Ultra-formal or White Tie: Long gown, extra glitz (furs, diamonds, etc.)
Do's and Don'ts for Her
Don't wear white because it competes with the bride. There are plenty of other colors available.
Don't wear black or sequins during the daytime.
Don't worry about wearing the same colors as the bridesmaids or mothers. You can't possibly coordinate with everyone in the wedding party.
Do wear something feminine and appropriate, out of respect for your hosts. Clubwear, overtly sexy clothing (strapless, see-through, etc) doesn't belong at a wedding. If you have to ask if it's appropriate, it probably isn't.
Don't wear opera-length gloves (to top of arm) with anything but sleeveless or strapless gowns.
Do take off gloves to eat or drink.
Do use good judgment if the invitation doesn't specify the formality of the event. A pastel suit or soft floral dress for daytime or a little black dress for evening (after 6 p.m.) will take you almost anywhere.
Wedding Style for Him
Informal Daytime: Dress shirt and pants, preferably a sports jacket.
Informal Evening: Suit
Semi-Formal Evening: Dark suit
Formal Daytime: Dark suit and tie
Formal Evening: Tuxedo (if invitation states "black tie") or dark suits if women wear short dresses.
Ultra-formal Evening or White Tie: White tie, cummerbund, vest and shirt.
Do's and Don'ts for Him
Don't try to get cute with a tuxedo. A black tux with white shirt and black bow tie is the best way to go. If "Creative Black Tie" or "Texas Formal" or some sort of other vague formal description is used, then going with a tux and black shirt, no tie, might be acceptable. Also, trendier cities like Los Angeles and New York might be more accepting of breaking with tradition.
Do wear a dark suit, with a tie if the wedding is after 6 PM, and doesn't say "Black Tie."
Don't wear a tuxedo during the day time, regardless of the formality of the event.
Do use good judgment if the invitation doesn't specify the formality of the event. A dark suit and conservative tie will take you just about anywhere.
Labels or Love Lyrics!!
This song is AWESOME because its all about fashion...and love...download it now!!
Labels or Love by Fergie
Shopping for labels, shopping for love
Manolo and Louis, it's all I'm thinking of
Shopping for labels, shopping for love
1, 2
Manolo and Louis, it's all I'm thinking of
1, 2, 3 Turn the lights on.
I already know what my addiction is
I be looking for labels, I ain't looking for love
I shop for purses while love walks out the door
Don't cry, buy a bag and get over it
And, I'm not concerned with all the politics
It's a lot of men I know I could find another.
What I know is that I'm always happy when I walk out the store, store
I'm guessing Supercalifragi-sexy, nothing to be playing with I love him, hate him, kiss him, diss him, tryna to walk a mile in my kicks
[Chorus] Love's like a runway but which one do I love more? No emotional baggage, just big bags filled with Dior Love's like a runway, so what's all the fussing for? Let's stop chasing them boys and shop some more. 1, 2, 1, 2, 3, Turn the lights on.
I know I might come off as negative
I be looking for labels, I ain't looking for love
Relationships are often so hard to tame
A Prada dress has never broken my heart before
And, ballin's something that I'm fed up with I'mma do the damn thing, watch me do the damn thing
Cause I know that my credit card will help me put out the flames
I'm guessing Supercalifragi-sexy, nothing to be playing with
I love him, hate him, kiss him, diss him, tryna to walk a mile in my kicks
[Chorus] Love's like a runway but which one do I love more? No emotional baggage, just big bags filled with Dior Love's like a runway, so what's all the fussing for? Let's stop chasing them boys and shop some more. 1, 2, 1, 2, 3, Turn the lights on.
Gucci, Fendi, Prada purses, purchasing them finer things
Men they come a dime a dozen, just give me them diamond rings
I'm into a lot of bling, Cadillac, Chanel and Coach Fellas boast but they can't really handle my female approach
Buying things is hard to say Rocking Christian Audigier, Manolo, Polo, taking photos in my Cartier So we can't go all the way, I know you might hate it but I'm a shop for labels while them ladies lay and wait for love
[Chorus] Love's like a runway but which one do I love more? No emotional baggage, just big bags filled with Dior Love's like a runway, so what's all the fussing for? Let's stop chasing them boys and shop some more. 1, 2, 1, 2, 3, Turn the lights on.
Shopping for labels, shopping for love Manolo and Louis, it's all I'm thinking of Shopping for labels, shopping for love 1, 2 Manolo and Louis, it's all I'm thinking of 1, 2, 3
Turn the lights on.
Confessions Of A Shopaholic
I LOVE Confessions of a Shopaholic. They are one of the BEST series I have ever read! Here is some information about the author and the other books she has written..then go out and BUY HER BOOKS!!
Madeleine Wickham (nee Townley), under her own name and the pseudonym, Sophie Kinsella, is a bestselling British author.
Educated at Putney High School and New College , Oxford , she worked as a financial journalist before turning to fiction. She is best known for writing the Shopaholic novels series of chick-lit novels, which focus on the misadventures of Becky Bloomwood, a financial journalist who cannot manage her own finances. The books follow her life from when her credit card debt first becomes overwhelming ("Confessions of a Shopaholic") to the latest book on being married and having a child ("Shopaholic & Baby"). Throughout the entire series, her obsession with shopping and its resulting complications for her life is a central theme.
The first Shopaholic book is scheduled to be released as a Disney film in 2008, with Isla Fisher playing Becky and Hugh Dancy as Luke Brandon. The film will be set in New York, rather than London, where the book is set.
Sophie lives in Hertfordshire with her husband, Henry Wickham, a headmaster of a boys' prep school. They have been married for 17 years and they have 3 sons, Freddy 11, Hugo 9 and Oscar 2.
Shopaholic
The Secret Dreamworld of a Shopaholic (also titled Confessions of a Shopaholic ) (2000)
Shopaholic Abroad (also titled Shopaholic Takes Manhattan) (2001)
Shopaholic Ties the Knot (2001)
Shopaholic and Sister (2004)
Shopaholic and Baby (2007)
Other
Girls Night In (2004) (An omnibus of novels, along with "many more fabulous authors" including Meg Cabot and Jennifer Weiner )
Can You Keep a Secret? (2004)
The Undomestic Goddess (2005)
Remember Me? (2008)
Legally Blonde
Legally Blonde is a great movie that has an important message to never stop believing in yourself. Also... Elle wears one of my favorite colors...PINK!! I went on wikipedia.com to get the plot, errors and the taglines of the film!
Meet Elle Woods. She's a lawyer with a heart of gold...and a mane to match.
Boldly going where no blonde has gone.
Blondes DO have more fun!
Don't judge a book by its hair color!
Believing in yourself NEVER goes out of style!
Plot
Elle Woods ( Reese Witherspoon ) is the typical pampered " Valley Girl ," growing up in Bel-Air , across the street from Aaron Spelling . She is president of her sorority , Delta Nu , at the fictional CULA, the California University of Los Angeles (an anagram of UCLA ). Nearing graduation, Elle expects her Harvard Law School -bound boyfriend , Warner Huntington III ( Matthew Davis ), to propose, but he instead breaks up with her, saying that she is not "serious" and would hinder his political future. Elle later finds out that Warner's brother, Putnam Bowen Huntington III, is marrying Layne Walker Vanderbilt, also a Harvard law student. Crushed, Elle decides the only way to way to win Warner back is to attend Harvard Law School. With an exceptional LSAT score (179), a 4.0 GPA (albeit achieved as a fashion design major), and a confident application video including herself in a bikini, she wins the approval of the admissions board.
At Harvard, Elle is initially met with hostility and skepticism of her abilities, and she finds Warner is already engaged to fellow law student Vivian Kensington ( Selma Blair ). Vivian reluctantly invites Elle to a formal gathering, but tells her it is a costume party to humiliate her. Though she shows up dressed as a Playboy bunny , Elle is unfazed. She confronts Warner and finds that his perception of her is unaffected by her accomplishments. Spurred by his dismissive remarks, Elle immerses herself in her studies and becomes a top student in her class. She still finds it hard to be taken seriously, although Emmett Richmond ( Luke Wilson ), the trial assistant of Callahan ( Victor Garber ), one of Elle's professors, is friendly to her and recognizes her potential.
Along with Warner and Vivian, Elle is hired as an intern at Callahan's firm. They are assigned the case of defending a young woman, Brooke Taylor Windham ( Ali Larter ), accused of murdering her wealthy husband. Windham is coincidentally a former member of Elle's sorority and a famous fitness instructor, facts that convince Elle of her innocence. Her stepdaughter and the household's "cabana boy" Enrique Salvatore ( Greg Serano ) attest to finding Windham standing over her husband's dead body.
After Windham refuses Callahan's request for an alibi, Elle visits her in jail where she confides that she was having liposuction at the time of her husband's death. Worried that this would destroy her reputation as a fitness instructor, she asks that Elle keep the alibi secret. Elle complies despite pressure from Callahan. Vivian is extremely impressed that Elle kept Brook Windham's alibi, and the two start to become friends. To further discredit Windham, Salvatore testifies that he and Windham had been having an affair. Elle reasons that Salvatore is actually gay, given that he is able to correctly identify the brand of her shoes as "last season Prada ," something that a straight man can't identify. Although Callahan dismisses her claim as speculative and frivolous, Emmett takes the initiative and tricks Salvatore into admitting this on the stand by asking what Salvatore's boyfriend name is.
Callahan has a private discussion with Elle after the session. To her disgust, he reveals he finds her attractive and begins to caress her thigh. Elle angrily storms out and is met by Vivian, who witnessed Callahan touching Elle's leg and tells her she should sleep with the jury too so they can win the case. Convinced that she will never be taken seriously, Elle decides to quit and return to California. However, after encouragement from one of her female professors and with Emmett's support, she decides to stay. Emmett informs Windham of Callahan's transgression, and she decides to fire Callahan and replace him with Elle.
Since Elle is not a lawyer yet, she is supervised by Emmett. During her cross-examination, the victim's daughter, Chutney Windham ( Linda Cardellini ), claimed to have been taking a shower at the time of the murder, but Elle argues that having had her hair permed that day, a shower would have deactivated the ammonium thioglycolate and would have ruined her curls. Badgered by Elle's aggressive questioning, the daughter finally breaks down in tears and confesses to accidentally shooting her father, believing he was her stepmother, whom she resented for being the same age as she. With this, she is arrested and Brooke is cleared of all charges.
The end of the film shows that Elle graduated from Harvard as the class-elected speaker of her grad class with high honors, and she has been recommended to one of the country's most successful law firms. Now Elle's best friend, Vivian has called off her engagement to Warner, who graduates with no honors or any prestigious job offers. Emmett is revealed to be planning to propose to Elle right after her graduation.
Errors
Curls can be wet following a perm; they just cannot be washed. Thus, Elle's example of Tracy Marcinco's curls being ruined after getting wet at a wet t-shirt contest could be null and void (unless the water contained shampoo, conditioner, or soap, but Elle is interrupted before this could be established). However, since Chutney did say that she was upstairs washing her hair, the argument Elle uses is still valid.
In the scene in which Elle is dismissed from class for being unprepared, the professor asks Vivian Kensington whether "diversity jurisdiction" exists in a case earlier identified as Gordon v. Steele. When Kensington answers that such jurisdiction did not exist, the professor says that this is the correct answer. The Federal Court of Appeals actually found that diversity jurisdiction did exist in the case. See Gordon v. Steele, 376 F. Supp. 575 (W.D. Pa. 1974).
Everything You Need to Know About Hair Color
Dying your hair? Here are some great tips that I found on beauty.about.com...then DYE AWAY!!
Getting your hair color right isn't a science. It's really quite simple: Stick to colors that complement your skin tone, figure out if you're best off with all-over color or highlights and then decide if you're going to pay someone else to do it or do it yourself.Here are 11 tips and tricks your hairdresser knows, from how to avoid the wrong color to exactly how to do it yourself.
Pick the right shade of blonde Some women look good in any color but most women don't. Some rules of thumb for going blonde, according to Allure's Confessions of a Beauty Editor , which is my favorite beauty book of the moment:Sallow skin with yellow undertones? Deep golds aren't for you. Pink skin? Avoid strawberry shades. Doing it yourself? It's best to go no more than a couple shades lighter than your current shade.
The right way to go (or stay) brown Here are more Allure tips for going dark: If you're pale, careful with the super dark tones, you might look ghostly and older. (Eeek). Just as with blonde, it's best to start out just a couple shades from your natural color. In this case, avoid going more than a couple shades darker initially.
To color or to highlight, that's the question. We find women with short hair look better with full color rather than highlights. If you have medium-length to long hair, highlights -- especially around the face -- can be very flattering. For the most natural-looking highlights, you can ask your stylist for up to five different shades of color, according to 'Confessions.'
Keep in mind that due to root growth, all-over coloring will need to be touched up every four to eight weeks, while highlights can last up to two or three months.
Different types of highlights. There are basically four types of highlights: basic foil highlights, baliage or 'hair painting', chunking or 'piecing' and lowlighting.
Doing it yourself? Home-color kits have come a long way in the past few years and are perfect for busy people and those who want cut the cost of professional colorings. (We know of a couple top fashion editors who color their hair themselves!). Some great hair coloring kits include: L'Oreal Natural Match
Hair Color Clairol Nice and Easy
Coloring newbie? Start with a semipermanent color. Semipermanent colors wash out after a few washes, whereas permanent colors have to grow out. If you are new to coloring your hair, you might start with a semipermanent hue UNLESS you want to cover gray hair or go two or more shades lighter or darker. For more information on semipermanent vs. permanent colors .
How to tell if you'd make a great blonde A basic rule of thumb: People who had blonde hair as children have the right skin tone to be blonde adults. Some home hair coloring tips: rub Vaseline around your hairline as a protective measure before applying color. To remove after coloring, rub a small amount of cream cleanser and wipe off with cotton balls. Always wear gloves and wrap an old dark-colored towel around your shoulders. Rinse your eyes with water if you get color in your eyes. If you forgot the Vaseline and stained your skin, rub the area with a cotton ball soaked in alcohol-based toner.
How to hide that gray Gray hair can be resilient to hair dye because of its coarse texture. If your hair is less than 15 percent gray, opt for a semi-permanent color that's a shade lighter than your natural color (or matches your color). The gray will blend right in. If your hair is more gray, colorist Rita Hazan in the November 2004 issue of InStyle magazine, suggests a permanent 'ashy' color, which will help your gray hair appear blonde. Permanent colors are really the only way to completely cover gray hair, according to InStyle's Getting Gorgeous .
Don't like the color? Don't be afraid to go back to the salon and talk to your stylist. There are all sorts of ways to fix color that's just not right. If you did it yourself with a semi-permanent color, look for a shampoo with 'ammonium laurel sulfate' to wash away the color faster, according to Getting Gorgeous.
After care. Once you invest money in a hair color, you should protect your investment with the proper after-color care. Refresh your color by using a color-enhancing shampoo and conditioner once a week. These products deposit miniscule amounts of color into hair. Check out this list of the 8 best hair products for color-treated hair.
Root rescue. You can expect your color to last about 6 to eight weeks before your roots show. If your hair is colored, you'll want to get your roots touched up or do them yourself with a kit you can buy at the store like Clairol Nice and Easy Root Touch Ups . Be sure and test the color first before applying.If you have highlights or lowlights, you can avoid having your whole head colored by asking your stylist to do your hairline, crown and part. A word of warning: Foil highlights require precise application and fixing dark roots is nearly impossible.
Ask about easier to maintain highlighting techniques.
Fashion Careers!
Here are just some of the Fashion Careers you can have!
Fashion Design Production
Model
Can A Birkin Bag Get You Special Treatment?
The Birkin bag. Everyone wants one but not everyone can get one. I found an artical on usatoday.com written by Kelly Carter about her experience with the Birkin bag and how it did and didn't get her places! READ ON!!
There are bags — and then there's the Birkin. The Hermès design is the epitome of luxury. In Bringing Home the Birkin, Michael Tonello details his life as a seeker and seller of the bags. What's it like to wear such a symbol of wealth? Does it make salespeople fall over themselves to help you? Garner a great table at a fancy restaurant? Kelly Carter hit NYC and L.A. with a $9,000 Birkin to find out. With no logo to indicate the maker, Birkins aren't as recognizable as some high-end bags, and even in locations known for luxury, the bag was sometimes overlooked — but sometimes not.
New York
Out to eat: At celebrity chef Marcus Samuelsson's new restaurant, Merkato 55, in New York's trendy Meatpacking District, I plopped the bag on the bar while my party waited for its table. No one around blinked an eye. Another day at Via Quadronno, a tiny, chic Italian restaurant on the tony Upper East Side and a favorite spot for ladies who lunch, I halfway expected a hostess to produce a small stool for my pricey purse as I searched for somewhere other than the floor to put it. But nothing.
Shopping: All eyes weren't exactly on my bag when I sauntered down Fifth and Madison avenues, both lined with designer shops. But once inside a store, I figured things might be different. At Barneys New York, I checked out a $3,500 Bottega Veneta handbag and listened to the saleswoman rattle on about how well-made that purse is. When I asked her if it would hold up better than my Birkin, it was as if she'd noticed the bag for the first time.
It was different a few doors down at Hermès. I had popped by a few weeks earlier wearing a pricey Chanel handbag. Only one salesperson spoke to me as I perused two floors. But with a Birkin on my arm, not only was I greeted warmly, but I was also asked if there was anything I would like to see. I was directed to a new $5,650 handbag that hit the shelf an hour ago. My eager salesman even checked for other colors and brought one out in a gigantic orange box, still sealed in plastic.
At a party: At a launch party for Players Club magazine at New York's Mandarin Oriental, a woman checked out the bag and then asked if there's really a waiting list. Before I could answer, she babbled on that if she had just one Birkin, she would never yearn for another purse.
Celeb chat: At a news conference to introduce Kelly Ripa as brand ambassador for Electrolux appliances, she passed by me and said, "Nice handbag." When we later sat down for an interview, she mentioned the purse. She's Birkin-less and said she was waiting for a very special occasion. More than an hour later, she passed me in the lobby and said, "Bye, Kelly." Most celebs don't bother to remember a reporter's name, even if they share it. I chalk it up to the Birkin.
Los Angeles
Shopping: I strolled down Rodeo Drive in worn Levis, a nondescript H&M shirt, Ralph Lauren loafers and Bulgari sunglasses. The Birkin received no special attention. I waltzed into the shoe department at Saks Fifth Avenue, and one salesperson said hi before departing to help others. No one ever asked if I needed anything.
A few days later at Neiman Marcus, an overzealous perfume model obviously spotted the Birkin coming down the escalator and rushed over with two bottles of Clive Christian and asked if I would like to try "the world's most expensive perfume."
In the millinery department, a fellow shopper eyed my pocketbook and asked me where I got it. But the purse fell flat in the shoe section, where I tried on a pair of $800 Christian Louboutin sandals and no one fawned.
Out to eat: At Crustacean, an upscale Beverly Hills restaurant, I walked in solo without a reservation and was given a prime table for two, which meant the Birkin could have its own seat. It was in good company, because I could watch as, two tables over, Warren Beatty, Annette Bening and presumably their children ate dinner and took pictures.
But at BLT Steak, the newest hot spot on the Sunset Strip, I stood for an hour in the bar section proudly displaying my Birkin while hoping to get seated, even though my group didn't have a reservation. The Birkin worked no magic, and we left.
Stiletto Heel
What girl does not want to own a stiletto heel?? I went on wikiepedia.com ( hahah my favorite site to get the rundown on anything) to find out more about this notorious heel!
A stiletto heel ( spike heel) is a long, thin heel found on some boots and shoes , usually for women. It is named after the stiletto dagger , the phrase being first recorded in the early 1930s.Stiletto heels may vary in length from 2.5 centimetres (1 inch ) to 20 cm (8 inches)or more if a platform sole is used, and are sometimes defined as having a diameter at the ground of less than 1 cm (slightly less than half an inch). Stiletto-style heels shorter than 5 cm are called kitten heels . Not all high slim heels merit the description stiletto. The extremely slender original Italian-style stiletto heels of the very early 1960s were no more than 5mm in diameter for much of their length, although the heel sometimes flared out a little at the tip. After their demise in the mid-late 1960s, such slender heels were difficult to find until recently due to changes in the way heels were mass-produced. However, no moulded plastic heel with internal metal tube can hope to achieve the slender line or strength of a metal-stemmed stiletto, so it was only a matter of time before popular opinion and the demands of shoe designers brought back the manufacture of genuine stiletto heels.
History
A pair of shoes with 12 cm stiletto heels
High heel shoes were worn by men and women courtiers . The design of the stiletto heel originally came from the late Kristin S. Wagner but would not become popular until the late 1950s. The stiletto heel came with the advent of technology using a supporting metal shaft within the heel, instead of wood or other, weaker materials that required a wide heel. This revival of the opulent heel style can be attributed to the designer Roger Vivier and such designs became very popular in the 1950s.
As time went on, stiletto heels became known more for their erotic nature than for their ability to make height. Stiletto heels are a common fetish item. As a fashion item, their popularity was changing over time. After an initial wave of popularity in the 1950s, they reached their most refined shape in the early 1960s, when the toes of the shoes which bore them became as slender and elongated as the stiletto heels themselves. As a result of the overall sharpness of outline, it was customary for women to refer to the whole shoe as a "stiletto", not just the heel. Although they officially faded from the scene after the Beatle era began, their popularity continued at street level, and women stubbornly refused to give them up even after they could no longer readily find them in the mainstream shops. A version of the stiletto heel was reintroduced as soon as 1974 by Manolo Blahnik , who dubbed his "new" heel the Needle. Similar heels were stocked at the big Biba store in London, by Russell and Bromley and by smaller boutiques. Old stocks of unworn pointed-toe stilettos, and contemporary efforts to replicate them (ironically, lacking anything like the true stiletto heel because of changes in the way heels were by then being mass-produced) were sold in street fashion markets and became popular with punks, and with other fashion tribes of the late 1970s until supplies dwindled in the early 1980s. Subsequently, round-toe shoes with slightly thicker (sometimes cone-shaped) semi-stiletto heels, often very high in an attempt to appear more slender (the best example of this being the shoes sold in London by Derber), were frequently worn at the office with wide-shouldered power suits . The style survived through much of the 1980s but almost completely disappeared during the 1990s, when professional and college-age women took to wearing shoes with thick, block heels . However, the slender stiletto heel staged a major comeback after 2000, when young women adopted the style for dressing up office wear or adding a feminine touch to casual wear, like jeans.
Stiletto heels are particularly associated with the image of the femme fatale . They are often considered to be a seductive item of clothing, and often feature in popular culture.
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Stiletto heels are often used in trampling fetishism, in which a dominant partner tramples on a submissive partner with the intention of hurting him/her for a sexual pleasure received by both the dominant and the submissive.
Stilettos give the optical illusion of a longer, slimmer leg, a smaller foot, and a greater overall height. They also alter the wearer's posture and gait, flexing the calf muscles, and making the bust and buttocks more prominent.
Disadvantages
Stiletto heels transmit a large amount of force in a small area, and are therefore often strengthened by a metal tube, into which is inserted a metal or hard plastic tip. The great pressure transmitted through such a heel (greater than that exerted by an elephant standing on one foot)can cause damage to carpets and floors . The heel will also sink into lawns , making high heels impractical for outdoor wear.
Some people think that stiletto heels can render wearers less stable than wider high heels due to the small diameter of heel at the ground. This is a fallacy. The act of balancing in a high, thin heeled shoe is accomplished at the front of the foot, not at the heel. A shoe with a high wide heel and a deep, rigid platform sole which prevents the wearer from feeling contact with the ground may feel sturdy when stationary, but is more likely to completely capsize and cause the ankle to sprain or fracture than a teetering stiletto shoe with a thin flexible sole which may appear to wobble and tremble, but has no disastrous "point of no return". Walking across a wet cobbled street is quite tricky in stiletto heels, but it is a sure route to the casualty ward in high platform shoes, despite their treacherous illusion of empowerment and strength.
It has also been suggested that the daily wear of stiletto heels can cause leg, hip and back problems. Strangely enough, provided the shoe is properly designed and balanced, the higher, approx. four inch stiletto heels do not seem to be the culprits, as the wearer, walking delicately on tiptoe as she has to do, puts little weight down on her heel, and probably will not wish to walk too far before tiring and resting. Such shoes are generally reserved more for special occasion wear. Stress damage to the skeleton due to walking impact during prolonged wear is far more likely to be the case with the harmless-looking, lower "kitten" stiletto heel many women favour for work, which permits a more normal, forceful gait, takes far more of the wearer's weight than a higher heel, and transmits the force of that concentrated weight into the ground sharply when walking, causing shock waves up the spine. This can be tested (with permission!) by placing a hand on a woman's lower spine when she is walking in various different heel heights - the impact vibrations transmitted up the skeleton by walking purposefully in the manner allowed by the lower stiletto heels are far more noticeable.
Sex And The City
Sex And The City is one of my all time favorite show!! THe movie was FANTASTIC along with the trendsetting fashion the series promoted! I went on Wikipedia to give a run down to the show and charectors.
Sex and the City is a multiple Emmy Award , Golden Globe award–winning popular American cable television program. The original run of the show was broadcast on HBO from 1998 until 2004, for a total of six seasons.
Set in New York City , the show focuses on four women, three in their mid-thirties, and one in her forties. The sitcom had serialized story lines, as well as dramatic elements and tackled socially-relevant issues such as STD's, safe sex, multiple partners, promiscuity and often specifically dealing with women in society in the late 1990s, and how changing roles and definitions for women affected the characters.
The show was primarily filmed at New York City's Silvercup Studios and on location in and around Manhattan . Since it ended, the show has been aired in syndication on networks such as TBS , WGN , The CW , and many other local stations. However, basic cable outlets edit out certain explicit show content that was broadcast in the original version.
Premise
The show was based in part on writer Candace Bushnell 's book of the same name, compiled from her column with the New York Observer . Bushnell has stated in several interviews[ specify ] that the Carrie Bradshaw in her columns is her alter ego ; when she wrote the "Sex and the City" essays, she used her own name initially; for privacy reasons, however, she created the character of Carrie Bradshaw, a woman who was also working as a writer and living in New York City. Carrie also has the same initials, which reiterates her connection with Bushnell.
Darren Star , the show's creator, paid $50,000 to Bushnell for complete rights to her columns.The show "bears only a passing resemblance to its source material"; the columns were "darker and more cynical" than the "gentler" series that Star produced.According to Sex and the City: Kiss and Tell, by Amy Sohn ,Star wanted to create a show that expressed true adult comedy, sex, in an up-front way.
The narrative of the show focuses on Carrie and her three best friends. The women discuss their sexual desires and fantasies, and their travails in life and love. The show often depicts frank discussions about romance and sexuality, particularly in the context of being a single woman in her mid-thirties. Each episode in season one features a short montage of interviews of people living in New York City regarding topics discussed in that episode. These continue through season two but were then phased out.
Another feature that would eventually be scrapped was Carrie breaking the fourth wall (for example, looking into the camera and speaking to the audience directly, also known in older drama as an aside ). Bradshaw would question scenarios and ideas, asking the audience for an opinion or insight on different situations. The pilot , however, also had the characters of Miranda and Charlotte as well as a few minor characters speaking directly to the camera/audience. The last such event by Carrie occurs in episode 3 of the second season, " The Freak Show ".
The method of expressing inner monologues was shifted exclusively to voiceovers by Carrie in future episodes. Her main narration usually revolves around the premise of that week's "article", where she sums up her thoughts with, "I couldn't help but wonder...". As she says that, her computer monitor is shown while she is typing the text of her voiceover, ending up with the theme of the episode expressed as a question such as, "Are we sluts?" or "Can you really have sex without politics?"
Sex and the City characters
Carrie Bradshaw ( Sarah Jessica Parker ) is the narrator of each episode. Each episode is structured around her train of thought while writing her weekly column, "Sex and the City," for the fictitious newspaper The New York Star. A member of the New York glitterati, she is a club/bar/restaurant staple who is known for her unique fashion sense (particularly footwear). This is evident in the episode "The Real Me" in season four, when she is asked by Lynne Cameron (played by Margaret Cho) to be in a New York fashion show. She works on her PowerBook in her apartment, writing newspaper articles focusing on the different aspects of a relationship. In later seasons, her essays are collected as a book and she begins taking assignments from Vogue and New York Magazine . Carrie is house-proud; her one-bedroom, rent-controlled apartment is in an Upper East Side brownstone . Despite several long-term boyfriends, Carrie is entangled with "Mr. Big"( Chris Noth ) in a complicated, multifaceted on and off relationship.
Samantha Jones ( Kim Cattrall ) is the oldest and most sexually confident of the foursome. Samantha is an independent businesswoman, with a career in public relations . She is confident, strong, outspoken, and calls herself a "try-sexual" (meaning she'll try anything once). One of Samantha's best qualities is her loyalty to her friends. When Carrie confesses to her that she's having an affair with her married ex-boyfriend (and cheating on her own boyfriend, as well), Samantha tells her that judging is not her style and offers her support. She has a conspicuous sexual appetite and avoids emotional involvement at all costs while satisfying her physical desires. She believes that she has had "hundreds" of soulmates and requires that her sexual partners leave, "an hour after I climax." During the course of the show it is revealed that Samantha's glamorous, impenetrable facade and dismissive approach to love actually hides a sensitive, caring nature. Samantha has a number of relationships in the show (including one with a lesbian artist named Maria), albeit far fewer than the number of her casual sex encounters. In Season 3, she moves from her full-service Upper East Side apartment to an expensive loft in the then-transforming Meatpacking District . In Season 6, Samantha's character further develops when she is suddenly diagnosed with cancer when visiting a plastic surgeon for a breast implant consultation. An operation and chemotherapy challenge Samantha, but she beats cancer and it becomes clear the experience has renewed her with a new perspective on life and love with her most permanent and fulfilling relationship yet, with a younger man, model/actor, Smith Jerrod.
Charlotte York ( Kristin Davis ) works in an art gallery and has had a conventional Connecticut upbringing. She is the most conservative and positive of the group, the one who places the most emphasis on emotional love as opposed to lust, and is a true romantic; always searching for her "knight in shining armor." She scoffs at the lewder, more libertine antics of her friends (primarily Samantha), presenting a more traditional attitude about relationships, usually based around " the rules " of love and dating. Despite her conservative outlook, she has been known to make concessions (while married) that even surprise her more sexually liberated girlfriends. Charlotte was a "straight A" student who attended Smith College where she was a member of Kappa Kappa Gamma majoring in Art History with a minor in Finance . During the series, it is also revealed that Charlotte was voted homecoming queen, prom queen, "most popular," student body president, track team captain, and was active as a teen model.
Miranda Hobbes ( Cynthia Nixon ) is a career-minded lawyer with extremely cynical views on relationships and men. A Harvard Law School graduate from Philadelphia with two siblings, she is Carrie's best friend, confidante, and voice of reason. In the early seasons, she is portrayed as masculine and borderline misandric , but this image softens over the years, particularly after she becomes pregnant by her on/off boyfriend, Steve Brady, whom she eventually marries. The birth of her son, Brady Hobbes, brings up new issues for her Type A , workaholic personality, but she soon finds a way to balance career, being single and motherhood. Of the four women, she is the first to purchase her own apartment (across the park from Carrie, on the Upper West Side ), and later a home in Brooklyn .
Mr. Big ( Chris Noth ) is a pseudonym for the charming, attractive, sarcastic, and wealthy love interest for Carrie Bradshaw. He is the reason for many of Carrie's breakdowns as he never seemed ready to fully commit to Carrie. During the course of the series he marries Natasha, who is ten years younger than Carrie. An affair with Carrie destroys Big's marriage and Carrie's relationship with her other major love interest, furniture designer Aidan. In the final episode, Mr. Big realizes that life without Carrie is nothing. He is a big jazz fan and a heavy cigar smoker with plenty of money to burn. His name, John, was not revealed until the end of the series finale. In the movie version, his full name of "John James Preston" is revealed for the first time.
Steve Brady ( David Eigenberg ) is Miranda's on and off boyfriend throughout the series since he was introduced in the second season. He eventually marries Miranda at the end of Season 6, after they had a child together at the end of Season 4. He is one of the few men on the show meant to counter-balance all the emotionally unstable men encountered throughout the series, as he is a constant and sensitive male character. His alcoholic mother, Mary Brady, played by Anne Meara , is also a prominent recurring character.
Aidan Shaw ( John Corbett ) was a former boyfriend of Carrie Bradshaw. They met at his furniture store after he was featured in a newspaper article; Carrie was instantly drawn to Aidan's laid-back sex appeal. Although Carrie and Aidan were engaged, Carrie was reluctant to actually get married. She realized that, unlike Aidan, she needed to be out in the world of Manhattan. Carrie also realized that Aidan didn't really trust her because she had betrayed his trust once before.
Aleksandr Petrovsky ( Mikhail Baryshnikov ) was a former boyfriend of Carrie Bradshaw. When Carrie and Charlotte make a visit to an art gallery, the pair run into famed Russian artist Aleksandr Petrovsky. While Charlotte is thrilled to meet one of her favorite artists, Aleksandr clearly pays more attention to Carrie. Later in the week, he calls her up to ask her on a date, which Carrie accepts. Carrie eventually meets up with Aleksandr at Russian Samavor for a late dinner, followed by another trip to the gallery in which they first met. Although the evening has a few awkward moments, Carrie eventually surrenders to his charm, with the couple sharing a passionate kiss. The morning after she first sleeps over at Aleksandr's apartment, Carrie is briefly introduced to his assistants. One of the assistants, Padma, can be seen talking on the phone in Malayalam . Carrie's relationship with Aleksandr was always doomed, because of the vast age difference between them and the artist's obsession with his career.
How To Have Healthy Hair
Do you crave healthy hair? Follow these steps that I found on wikihow.com and begin to get healthy and beautiful hair...NOW!
Steps:
1)Wash regularly. How often you wash your hair will depend on your type of hair. The best answer is to work it out for yourself by trying out washing over different days; every day, every two days or maybe every three days. Those with longer hair usually prefer to wash hair less often because it takes more time and effort to dry it; with shorter hair, every day might suit you.
2)Find the products that suit your hair. Do not use products just because a friend of a friend recommended them, or just because it happened to be the cheapest brand on the shelf. They must really work for your hair; again, it is trial and error. Also, be prepared for changing brands. Sometimes this is just a better option for your hair if it is getting dank and lifeless with your current product.
3)Buy a suitable conditioner. Conditioner helps de-tangle and fortify your hair. Seek advice from your hairdresser if you haven't any clue what might be best for your hair type. If you're going to use conditioner, you should only apply it to the ends of your hair, which needs the most moisture.
4)Try not to blow-dry your hair every time you wash it The heat of the dryer can damage your hair. If you must blow-dry it, squeeze the extra moisture from your hair so it will dry quicker.When blow-drying, protect your hair from the heat by applying a styling cream to damp hair. Seal in moisture at the end of blow-drying and smooth down flyaways with a little serum or oil, too (only use a tiny amount — any more and your hair could look greasy).
5) Visit the hairdresser regularly. A trim is best every 6 - 8 weeks, a bit less often if you're growing your hair out. This will help avoid split ends and it will stop your style from going out of shape.
6) Always keep your hair neat. Use combs, barrettes, elastics etc. to keep hair neat. If you are prone to flyaway hair, seek advice from your hairdresser for a good product to tame it. NEVER put it up with rubber bands, as they could damage your hair.
7)Keep up with the styles. As you change in life, as you move into new things and as you age, it is a good idea to update your look. What might have looked great 5 years ago may be looking tired and lank now. A new hairstyle can be as rewarding as a vacation! Try to match your hairstyle with your face shape. If you don't know whats hape your face is, ask your hairdresser or a friend to help you.
8) Use Oils. This sounds crazy, but if you rub a small quantity of oil on your hair then comb it through, it completely gets rid of the frizz...but it can make your hair look extremely greasy if you use too much. It also can help keep your hair moisturized and reduce protein loss. Favorite oils to use are coconut, olive, and jojoba.
Tips:
-Some people advise that hot (though they're actually warm) oil treatments are good for hair. Ask your hairdresser for advice.
-When you're on the beach, use a hat or a scarf to protect your hair from the sun.
-During the winter, try to wear hats more often to protect your hair from the elements.
Contain longer hair, especially in windy weather, to prevent knots and protect from breakage.
When wearing your hair up in a ponytail or any other hairstyle, try not to tie the ponytail holder too tight or you may end up with breakage/damage to your hair
-Don't be afraid to ask your hairdresser for care and styling tips.
-Look for forums online about hair care and growth. There are a lot out there with excellent advice.
-Try raw egg or mayo, wait two hours to rinse with cold water.
-Use cold water, hot can dry it out.
-Don't wrap hair in a towel, it causes it to be oily.
How To Get Angelina Jolie's Lips
Every girl wants fuller lips! If you want lips like Angelina Jolie's follow the steps I found on wikihow.com!
Steps:
1) Exfoliate your lips with a warm and wet wash cloth by wiping back and forth for no more than 30 seconds.
2)Apply a good lip plumper (the most recent in lip enhancing technology). There are a few good brands sold in department stores and beauty supply stores. They literally plump up, smooth out and moisten the lips. For a natural alternative, cayenne pepper can be used.
3) Apply a very small amount of the powder across the lips, and top with your favorite lip gloss. The cayenne will plump and color the lips by making the blood flow increase (the same action the lip plumpers create), and the gloss will provide shine and moisture.
4)Line and fill in your lips with a light brown or nude lip liner pencil (match your skin tone as closely as you can).
5)Apply a matte flesh-toned lipstick.
6) Blot the lipstick by gently pressing your lips closed with a tissue in-between.
Tips:
-Alternatively, some lip glosses(like Lip Venom) use ginger and cinnamon to increase circulation in your lips to create fuller "bee-stung" looking lips. The cost of this beauty might be a slight burning feeling in your lips. However there is danger of an allergic reaction, so don't lick your lips or your throat may swell up which is extremely dangerous.
-Reduce shine and make your lipstick last longer by adding an ever-so-thin layer of baby powder with a brush.
If the look is a bit harsh for your taste, try adding some shine with clear gloss.
-Make-up artists like this trick, too. Add dimension by taking a liner about 2 shades darker than the lipstick and drawing in a "shadow line" under the middle of the bottom lip. This can be very tricky to master, so make sure you practice before you wear it out. Study pictures of celebrities who have similar lip shapes to your own and try to copy the shadow line found on them.
-Try to constantly use a lip gloss that has peppermint, spearmint, or cinnamon in it, preferably Mentha shine from Bath and Body Works.
-Using medicated lip balms, such as Carmex is great for keeping your lips soft and beautiful. Also, they're more receptive to treatments, such as plumping and infused lip glosses.
-If you have full lips, don't use lip plumper.
Warnings:
-Do not get so focused on your lips that you lose sight of how beautiful the rest of your face is.
-Nature usually shapes the lips to fit in with the other features on the face. The correct balance is much better than something completely out of proportion.
-Also do not forget that this 'bee stung' type look is just a fashion statement. Next year tiny lips, (which are cute) could be all the rage!
-If you do want to try the lipstick type so-called plumpers, read the online reviews, particularly the unbiased ones. It seems most of them do not work.
-A better attitude, a different style of clothing, or a different hair color might be a lot more important than attempting to mimic Hollywood's current favorite lips.
- Be yourself . It is important that you do not get obsessed with getting someone else's features. It is alright to enhance your looks and feel more attractive, but stay true to who you are and do not get obsessed over it.
-If a lipstick plumper hurts your lips it most likely has a chemical you are allergic to in it. Go for a higher up brand.
Katherine Hepburn Style
Kathrine Hepburn was a fsahion icon of her time. She was unique in that she did not follow trneds but made them! I found some information about her style on fsahionmefabulous.blogspot.com and styledash.com!
The question of “who wears the pants?” can only be answered, “Katherine Hepburn.” Hepburn wore pants like no one else in an era were women seldom wore pants. She disliked wearing makeup, spoke her mind, and didn't fit the “blonde bombshell” type of that time. Her unconventional approach to Hollywood set her apart from other actresses and at times hurt her popularity with audiences and the press. Ultimately, Hepburn won four Best Actress Oscars, more than anyone else, and became recognized as the greatest female star of all time by the American Film Institute.
Her tomboyish sexiness, her forceful glamor, her defiant femininity, and her playful power made her an icon both in style and personality. No one can ever match her unmistakable sense of style, but it can serve as an inspiration. Wide legged pants, a classic blouse, a tailored jacket, and stylish loafers make up the basic formula for her look, along with a long and lean silhouette.
Hepburn is credited for breaking the dress code for women in her time. In a time where Hollywood and the fashion industry was bursting with curves, kisses, and sex appeal Katharine's non-conformist style stood out amongst the rest.
Katharine Hepburn Closet Staples:
Loose fitting button down shirts
Loafer style shoes with socks
Gossip Girl
I LOVE Gossip Girl...the book series adn the show. The fashion is FANTASTIC!! I went on Wikipedia and the CW website to check out the info on Gossip Girl adn its cast!
Plot summary
The Gossip Girl series revolves around a group of teenagers, three of whom live on the Upper East Side of Manhattan in New York City . They gossip, but they also deal with sex and relationship problems. They attend elite private single-sex schools , where their lives are watched by the unseen title character who writes a blog about them. Despite attending school, they never seem to have homework or academic difficulties. The main characters are Serena van der Woodsen , Blair Waldorf , Nate Archibald , Jenny Humphrey , Dan Humphrey , Vanessa Abrams and Chuck Bass . Through the course of the books the characters show how they deal with all the problems that come with being part of, or associating with, the upper-east side. Serena comes back from a boarding school after leaving without notice. She comes back for a reason that no one knows. She gets back with her best friend, Blair, and resumes her "normal" life of high end designer clothing and parties with booze.
The private girls' school of the series, Constance Billard School for Girls , is an exaggerated version of the author's alma mater, the Nightingale-Bamford School .
Books
The books are published by Alloy Entertainment and distributed by Little, Brown and Company and Bloomsbury Publishing . The complete series has been published in paperback with the last book, a prequel, It Had To Be You , published in hardcover. Books nine, ten and eleven of the main series were ghostwritten .
The series has two spinoffs, The It Girl and Gossip Girl: The Carlyles . There is also a television series based on the books.
Central characters
Serena van der Woodsen
Serena van der Woodsen is described as 5' 7" with pale, long, blond hair and big, dark-blue eyes. She is slim and ethereally beautiful, often described as "perfect" in the books. She is very smart, but is often told that she is not working to her full potential. Her personality is not always as well regarded as her physical attributes. Like her sometimes best-friend Blair Waldorf , she and her family are prominent in New York society. Serena dabbled in modeling before landing a starring role in Breakfast at Fred's, a remake of Breakfast at Tiffany's . Serena has kept a steady string of admirers, including Nate Archibald , Dan Humphrey, Aaron Rose, and an entire acapella group at Yale . Despite the attention she receives from the opposite sex, Serena longs for true romance. She seeks this in Nate, although Nate has been known to prefer Blair. She has fallen in love many times, but nothing has been too serious. Serena is much less demanding and uptight than Blair; however, she has a tendency to be self-centered. She gets what she wants with very little effort which causes a lot of people to dislike her. She is practically worshiped by freshman Jenny Humphrey who aspires to be just like her despite their physical differences. Serena is often criticized by her classmates who find her an excellent source of gossip, but resent her effortless good looks and her ability to get the attention of any male. Her brother, Erik, attends Brown. Her parents rarely appear in the series. At the end of the book series, Serena decided to stay in New York City, instead of attending one of the many Ivy Leagues schools she got into, because she wanted to discover her life for herself. She is portrayed by Blake Lively in the TV series.
Blair Waldorf
Blair Cornelia Waldorf is described as 5'4" and slender with brilliant blue eyes and a fox-like face. She is involved in extracurricular activities and is very intelligent and determined. For the first three books, she had long, chestnut hair, but chopped it into a pixie cut in Because I'm Worth It , before having it extended in Don't You Forget About Me . She is a hopeless romantic who idolizes Audrey Hepburn and has a sensitive side that contrasts her tendency to be bitchy and controlling. She loves to pretend her life is a movie and watches Breakfast at Tiffany's often. She is vain, although her friendship with it-girl Serena van der Woodsen causes her to be insecure at times. In the first book, when Serena returns, Blair is extremely reluctant to let her back into her life because it would mean giving up the "queen bee" position she held in Serena's absence. She also fears losing Nate to Serena since they slept together before Serena left. Blair uses her charm, money and social clout to get what she wants. Her father, once an uptight lawyer, now lives in a French chateau with his boyfriend, Giles, and their adopted Cambodian twins, Ping and Pong. He shares a love of shoes with Blair. He raised Blair under the impression that she deserves everything she wants. Her mother, Eleanor Waldorf-Rose, is a flaky, society-hostess, who married Cyrus Rose. She has a younger brother, Tyler; a stepbrother, Aaron and a baby half-sister, Yale (named after the college Blair hoped to attend, making her a good luck charm). She has a turbulent relationship with Nate Archibald throughout the series, losing him to other girls several times, including Jenny Humphrey and Serena van der Woodsen . Blair now attends Yale University . She is portrayed by Leighton Meester in the TV series.
Nate Archibald
Nate is a wealthy, good-looking lacrosse player from St. Jude's school for boys. He is described as having wavy golden brown hair and sparkling, emerald-green eyes. His mother is a French socialite and his father is a former Navy captain. He smokes lots of marijuana and was once caught and sent to rehab after buying a dimebag in the park. He has dated a number of girls including Serena, Jenny, Georgina Spark, L'Wren from L'Ecole and Tawny from the Hamptons, but his only serious relationship has been with his on-again/off-again girlfriend, Blair Waldorf , his one true love. After stealing his lacrosse coach's Viagra , he relied on Blair and her alumnus father's connections to get accepted to Yale, although he eventually left to sail around the world with his father's Navy mentor because he is unable to choose between Blair and Serena. He is portrayed by Chace Crawford in the TV series.
Dan Humphrey
Dan is a thin, sensitive, chain-smoking, caffeine-addicted poet who often sees the darker side of things and has said his favorite word is "death." Dan is a romantic whose imagination runs off wildly at the worst times. He over-analyzes and is easily frustrated. He is romantically linked to Vanessa Abrams , who appears to be the love of his life, but he hasn't always been the best boyfriend. Prior to his relationship with Vanessa, he spent two years in love with Serena van der Woodsen. He has held several writing-related jobs, including a poem called "Sluts" published in the The New Yorker ; an internship at Red Letter, a prominent literary magazine; and a short stint as songwriter/lead singer for indie-rock sensation The Raves. He has a close relationship with his sister, Jenny and his father Rufus. Before realizing he loved Vanessa, he was confused about his sexuality and experimented with a guy named Greg. His absentee mother returns in the final book because she believes that he is gay. Dan is now attending The Evergreen State College in Washington. He is portrayed by Penn Badgley in the TV series.
Vanessa Abrams
Vanessa is a budding filmmaker. She is the polar opposite of her Constance Billard classmates. Her parents are hippie artists who live in Vermont , while her sister Ruby is bassist for the band SugarDaddy. She's described in the books as pale, and she shaves her own head. She has a shaky relationship with Dan Humphrey. After Ruby comes back from a world tour with her new fiance, Piotr, Vanessa moves in with the Humphreys, further complicating her relationship with Dan. She is attending NYU at the end of the book series. She is portrayed by Jessica Szohr in the TV series.
Jenny Humphrey
The younger sister of Dan Humphrey , fourteen year old Jenny is the youngest of the Gossip Girl characters. She is 4'11" and has dazzling brown eyes and curly brown hair, is an aspiring artist and holds a secret desire to be a model like Serena van der Woodsen , whom she eventually befriends. She often tries to fit in with the rich girls at her school, even though she does not hold a place in their social sphere. She often goes on wild and embarrassing escapades to set an image for herself and once accidentally starred in a photo shoot for an article entitled "Does Breast Size Matter?" She also allowed a scandalous video of her and Nate Archibald to circulate on the Internet and spent a lot of time with a popular indie rock band called the Raves. After Jenny gets kicked out of Constance Billard School for Girls , she ends up going to a boarding school, Waverly Academy, to reinvent herself as the "It Girl", a la Serena. She is now the main character in a spin-off series of books called " The It Girl ." She is portrayed by Taylor Momsen in the TV series.
Secondary characters
Chuck Bass
Chuck is a rich, handsome, lust-driven, perverted antagonist whose list of the finer things in life is short: sex, alcohol, and rock and roll. He almost took advantage of a vulnerable Jenny Humphrey in a bathroom and on roof top and tried to sleep with an inebriated Serena van der Woodsen. Nobody is certain about his sexual orientation. Chuck has an obnoxious pet monkey named Sweetie, who can often be found perching on his shoulder and wearing coordinated outfits. He is largely despised by other characters, but because their families have been friends for generations and because of his wealth and good looks, they tolerate his egotistical antics and accept him for what he is: a rich party animal. After he was not accepted to any of the colleges he applied to, he ends up going to military college. He is portrayed by Ed Westwick as a primary character in the TV series.
Kati Farkas and Isabel Coates
They make up Blair's former clique before Serena returned to New York City. They are two alumna socialites of Constance Billard School for Girls . Isabel was accepted into Princeton University, but she turned the Ivy down for Rollins College in Orlando, Florida because she wanted to attend college with her best friend, Kati. They are portrayed by Nan Zhang and Nicole Fiscella in the TV series.
Minor characters
Erik van der Woodsen
The older brother of Serena van der Woodsen. Once had a fling with Blair Waldorf. He is portrayed by Connor Paolo in the TV series as Serena's younger brother. She returned from boarding school to see him after had tried to commit suicide.
Aaron Rose
The herb cigarette-smoking and vegan step-brother of Blair Waldorf and son of Cyrus Rose. He drives a red Saab, and had a un-requited crush on his step-sister, Blair. Later on he dated both Serena and Vanessa, and was accepted to Harvard University .
Tyler Waldorf
The younger brother of Blair Waldorf and a student at St. George’s. He was a constant joke when Serena and Blair were best friends, even dropping him off and making him walk home from the Lower East Side .
Elise Wells
Jenny's best friend and a student at Constance Billard. She discovers homosexual attractions - which will prove to be fleeting - and embraces Jenny. She falls in love with Dan who rejects her, but she eventually accepts his feelings and even encourages him to return with Vanessa, although she still loves him. Her dad, Owen Wells, is a Yale Interviewer, and interviews Blair . The two had mutal attraction for each other until Blair found out that Owen was married and Elise is his daughter. She is portrayed by Emma Demar in the TV series.
A mentally insane ex-girlfriend of Nate’s from when they were in rehab together. She has been with Chuck Bass. She is portrayed by Michelle Trachtenberg in the TV series.
Charlie Dern, Anthony Advulsen and Jeremy Scott Tompkison
Nate's friends, also attends St. Jude's, they spend their time smoking marijuana and playing soccer at Central Park. They are not mentioned in the TV series.
TV series
Main article: Gossip Girl (TV series)
The TV adaptation, also titled Gossip Girl , was picked up by The CW. [4] Josh Schwartz , the creator of The O.C. , is executive producer for the project. [5] Blake Lively plays Serena in the show and Leighton Meester plays Blair. Serena's love interest, Dan Humphrey, is played by Penn Badgley . Nate Archibald, is played by Chace Crawford . Taylor Momsen plays Jenny Humphrey, although her physical attributes differ from the book character's DD breast size, curly brown hair, and 5 foot tall frame. Rufus Humphrey is played by Matthew Settle , and Chuck Bass is played by Ed Westwick . Connor Paolo plays Erik van der Woodsen, Serena's younger brother, and Kelly Rutherford plays their mother, Lillian van der Woodsen. Blair's mother, Eleanor Waldorf, is played by Margaret Colin . Nan Zhang plays Kati Farkas and her friend Isabel Coates is played by Nicole Fiscella . Kristen Bell , star of Veronica Mars , narrates the show as the "Gossip Girl" herself. Vanessa Abrams, a main character in the books, makes recurring appearances and is played by Jessica Szohr .
On May 14 , 2008 the CW announced Gossip Girl would be renewed for the upcoming Fall season, and would return September 1 , 2008 and remain in its Monday 8 pm time slot.
The Gossip Girl Cast On The CW
BLAKE LIVELYas SERENA VAN DER WOODSEN
Blake Lively stars as Serena van der Woodsen in The CW's new drama "Gossip Girl," from Josh Schwartz ("The O.C."), based on the tremendously popular book series about privileged teenagers who attend an elite private school in New York City.
Lively has quickly become one of the most sought-after young actresses in Hollywood. Last summer, Lively starred in Universal's summer comedy "Accepted," alongside Justin Long and directed by Steve Pink. She made her big-screen debut in Warner Bros.' "The Sisterhood of the Traveling Pants," for which she earned a "Breakthrough Performance" nomination at the "2005 Teen Choice Awards."
Lively recently completed production on the independent feature "Elvis & Annabelle," starring opposite Max Minghella and Mary Steenburgen, as well as the sequel to "The Sisterhood of the Traveling Pants."
She was also honored at the December 2006 Hollywood Life Breakthrough Awards. She graduated from high school last spring and resides in Los Angeles.
LEIGHTON MEESTERas BLAIR WALDORF
Leighton Meester stars as Blair Waldorf in The CW's new drama "Gossip Girl," from Josh Schwartz ("The O.C."), based on the tremendously popular book series about privileged teenagers who attend an elite private school in New York City.
After making her television debut when she was 13 on "Law & Order," she got her breakout role in 2004 with a recurring role as the Britney Spears-like singer Justine Chapin on the hit series "Entourage." She continued to work steadily with guest-star roles on series like "8 Simple Rules," "Numbers" and "CSI Miami," and has had recurring roles on popular series such as "24," "Veronica Mars," "Shark" and "House." In addition, she had regular roles on "Tarzan" and "Surface."
Meester made her film debut in the feature "Hangman's Curse," based on the best-selling novel by Frank Peretti. She also recently starred in the independent film "Flourish" with future "House" co-stars Jennifer Morrison and Jesse Spencer, and in the drama "Inside." Meester's upcoming feaure films roles include the dramedy "The Beautiful Ordinary," the horror/comedy "Drive-Thru" and the thriller "Dead of Night."
Raised in Marco Island, Florida, Meester became interested in acting when she appeared in a local production of "The Wizard of Oz." When she was 11, she moved with her family to New York City and soon after began working as a model with Wilhemina, booking a Ralph Lauren campaign shot by Bruce Webber and working with then photographer Sophia Coppola.
When not on the set, Meester passionately pursues her talent for music and creative writing. She has recorded a song for the soundtrack of her upcoming film "Drive-Thru." She currently resides in New York.
PENN BADGLEYas DAN HUMPHREY
Penn Badgley stars as Dan Humphrey in The CW's new drama "Gossip Girl," from Josh Schwartz ("The O.C."), based on the tremendously popular book series about privileged teenagers who attend an elite private school in New York City.
Badgley most recently starred in Tom Fontana's "The Bedford Diaries," opposite Matthew Modine and Milo Ventimiglia. On film, he starred alongside Jesse Metcalfe and Brittany Snow in the hit comedy "John Tucker Must Die," and will next be seen starring in the rugby-themed film "Forever Strong." His other film work includes the provocative yet acclaimed independent feature "The Fluffer."
Badgley also played the lead in the Warren Littlefield-produced comedy series "Do Over." He then segued into McG's drama series "The Mountain," with Barbara Hershey and Oliver Hudson.
Though life began for Badgley in Baltimore, he split his formative years between Richmond, Virginia, and Seattle. It was there that he became actively involved in the Seattle Children's Theater and voice-over work that eventually lead he and his mother to Los Angeles, where he secured an agent.
Upon relocating, he landed a coveted guest star role on "Will & Grace." Shortly thereafter, recurring roles on "The Young and The Restless," "The Brothers Garcia" and "Daddio" followed. He also guest starred on "What I Like About You."
When not honing his acting craft, Badgley attended Santa Monica Community College, having already completed his California High School Proficiency Exam at age 14. He has deferred admission to University of Southern California until his work schedule will permit him to return to school. In his spare time, he enjoys surfing, soccer, skiing, snowboarding, singing, and playing the guitar.
CHACE CRAWFORDas NATE ARCHIBALD
In The CW's new drama "Gossip Girl," Chace Crawford plays Nate Archibald, a young man uneasy with all the privileges that have been handed to him by his family, and who finds himself in a love triangle with his longtime girlfriend, Blair (Leighton Meester), and her best friend, Serena (Blake Lively).
Crawford recently wrapped production on the independent movie "She Lived" in Los Angeles, in which he stars as Joseph Young. Haley Bennett from "Music and Lyrics" co-stars and Mickey Liddell is directing. Crawford will next be seen starring in the Wingman Productions film "Loaded," starring alongside Jesse Metcalfe and Monica Keena.
In 2006, Crawford starred alongside Taylor Kitsch, Sebastian Stan and Toby Hemingway in Screen Gems' "The Covenant." The movie follows four young men who belong to a supernatural legacy and are forced to battle a fifth power long thought to have died. Directed by Renny Harlin, "The Covenant" opened at #1 in the box office.
Crawford also appeared in Lifetime's television movie "Long Lost Son" in 2006, in which he portrayed the son of Gabrielle Anwar's character. Directed by Brian Trenchard-Smith, "Long Lost Son" told the story of a mother who realizes 14 years later that the son and husband she believed to have drowned are still alive.
Crawford grew up in Plano, Texas. He moved to Los Angeles to attend Pepperdine University and while there, he began acting as a hobby. Shortly thereafter, he landed his first break as Tyler Simms in "The Covenant."
Currently, Crawford splits his time between Los Angeles and New York City, where "Gossip Girl" is being filmed.
TAYLOR MOMSENas JENNY HUMPHREY
An actress whose poise and range reaches well beyond her years, Taylor Momsen stars as Jenny Humphrey, the freshman from Downtown Soho, who tries to fit in with the wealthy kids from New York's Upper East side, in The CW's new drama "Gossip Girl."
Working with directors ranging from Ron Howard to Gus Van Sant, Momsen is making her mark in Hollywood. She will next be seen in Gus Van Sant's "Paranoid Park" for IFC Films. The film revolves around a teenage skateboarder whose life begins to fray after he is involved in the accidental death of a security guard. The film premiered at the 2007 Cannes Film Festival to rave reviews and was given the 60th Anniversary Award.
Momsen can also be seen in Disney and Spyglass Entertainment's live action/CGI film "Underdog," starring Jim Belushi and directed by Frederik Du Chau. The film is scheduled for release on August 3, 2007.
In 2000, Momsen starred in her breakthrough performance in Ron Howard's "How the Grinch Stole Christmas," as Cindy Lou Who opposite Jim Carrey for Imagine Entertainment and Universal Studios. The film grossed over $340 million worldwide.
Additional film credits include: Robert Rodriquez' "Spy Kids 2," and Randall Wallace's "We Were Soldiers," starring Mel Gibson. Momsen was born in St. Louis, Missouri, and currently resides in Maryland.
ED WESTWICKas CHUCK BASS
Ed Westwick stars as Chuck, an overly confident and sexy bad boy, in The CW's new drama "Gossip Girl," from Josh Schwartz ("The O.C."), based on the tremendously popular book series about privileged teenagers who attend an elite private school in New York City.
An emerging young British actor trained at The National Youth Theatre in London, Westwick was recently seen in two high profile features. He played the role of Alex in Alfonso Cuaron's "Children of Men," opposite Clive Owen and Julianne Moore. Westwick was also seen playing the role of Zoran in Anthony Mighella's "Breaking and Entering," opposite Jude Law, Juliette Binoche and Robin Wright Penn.
Westwick will next be seen in the film "100 Feet," a supernatural thriller written by and to be directed by Eric Red. Starring alongside Famke Janssen and Bobby Cannavale, Westwick plays Joey, a handsome Brooklyn delivery boy who delivers groceries to Janssen's character, who is under house arrest. It is not long before they begin a heated affair. He will also be seen in "Son of Rambow," an independent film directed by Garth Jennings. Westwick plays Lawrence, a bully and surrogate father figure to his devoted younger brother. "Son of Rambow," which premiered at this year's Sundance Film Festival, caused quite a buzz at the festival, selling to Paramount Vantage for the highest amount at the festival.
Additional credits include guest leads in "Afterlife" for ITV1, "Casualty" for the BBC, "Doctors" for the BBC and "Dream Team" for Sky One. When not filming "Gossip Girl" in New York City, Westwick resides outside London.
Ballet Costumes
I found this on dance4it.com. Ballet is one of my favorite dances! I have always been intersted in the costumes, read this and find out more about ballet costumes!!
Costumes. In the early days of ballet, dancers wore heavy, fancy costumes. Ballet skirts came down to the floor. Dancers were less skilled than they are now, and so they were not bothered by bulky costumes. As dancers became more skilled, they wanted costumes that would not hide their steps or interfere with their movements. During the early 1700's, fashions in ballet costumes began to change. The great dancer Marie Camargo shortened her ballet skirt to above her ankles, and removed the heels from her dancing slippers. Ballet technique grew increasingly spectacular, and the skirts became shorter and shorter. Marie Taglioni, a dancer of the 1800's, had a major influence on ballet fashions. For a discussion of this influence, see the Romantic Ballet section of this article. Today, the standard ballet skirt, the tutu, ends well above the knees. The best ballet costumes are light and simple. They show all the lines of the body and never interfere with the dancer's movements. Even in historical ballets, freedom of movement is more important than costumes that look exactly like the clothing of the time. Ballet performers who dance on their toes wear special shoes. The tips of these shoes are made with layers of cloth and glue. The layers strengthen the tips, giving the dancer support.
Kate Moss
Kate Moss is one of my fasvorite models. And at the age of 34 she has proved you can be a supermodel at any age! I found information about her on wikipedia.com!
Moss was discovered at the age of 14 by Sarah Doukas (the founder of Storm Model Management) in 1988, at JFK Airport in New York City , after a holiday in the Bahamas . Moss's career began when Corinne Day shot black and white photographs of her, styled by Melanie Ward, for British magazine The Face when she was 15, in a photo shoot titled "The Third Summer of Love". Moss then went on to become the anti-supermodel of the 1990s in contrast to the supermodels of the moment, such as Cindy Crawford , Claudia Schiffer , and Naomi Campbell , who were known for their curvaceous and tall figures.
Moss was voted 8th in Celebrity Sleuths 25 Sexiest Women of 2004, 8th in Maxims 50 Sexiest Women of 1999 and 22nd in FHM 100 Sexiest Women of 1995. Men's magazine Arena named her as their Sexiest Woman in their 150th issue. In March 2007, Moss won the Sexiest Woman NME Award .She made her first appearance in the British women's Sunday Times Rich List in 2007, where she was estimated to be worth £45 million. She ranked as the 99th richest woman in Britain.
In July 2007, earning an estimated total of $9 million in the past 12 months, Forbes magazine named her second on the list of the World's 15 top-earning supermodels.
Style
Moss ushered in the waif look in 1993 (which prompted much speculation over her weight) with a highly publicised campaign for Calvin Klein , including posing nude in ads for its perfume brand, Obsession. Her depiction in photographs also drew criticism from then President of the United States, Bill Clinton who spoke out against the growing heroin chic trend. Moss charmed the fashion industry despite being unusually short for a runway model and has worked for many elite fashion lines. Now in her 30s, Moss is still working and has become a supermodel in her own right. In 2005, she came second on The Biggest Comeback Stars List – she lost to pop singer Mariah Carey .
In addition to being known for her modelling work, Kate Moss is also an international fashion icon.She has garnered many awards for her style including the Council of Fashion Designers of America 's fashion influence award and a place on the Vanity Fair's international best-dressed list. She appeared on the cover of Vanity Fair's September 2006 style issue. In the year of 2005~ 2006, her style was influenced by Rock and Roll. Due to her reputation, she is credited for setting numerous trends. In recent years she has popularised denim cutoff shorts, Ugg boots , ballet flats, Vivienne Westwood Pirate Boots, skinny jeans, waistcoat, Alexander McQueen's skull scarf, Louis Vuitton's Sprouse Leopard Cashmere Scarf, and the Balenciaga handbag,[as well as recently bringing high-waisted styles and waist-cinching belts back into popularity.
Campaigns
Moss has had campaigns with major Italian, French, American, and British designers including Gucci , Dolce & Gabbana , Louis Vuitton , Versace , Calvin Klein , Roberto Cavalli , Chanel , Missoni , Longchamp , David Yurman , Dior , Yves Saint-Laurent , Burberry , Stella McCartney , Rimmel , and Bvlgari , including a campaign for the successful Brazilian label ELLUS during summer 2000. She has been featured in fashion spreads in most major fashion magazines including UK, US, and French Vogue magazines (as well as other international versions of Vogue), Another Man, Vanity Fair , the Face , and W . Moss has appeared on the cover of British Vogue alone 24 times(in addition to dozens of other international Vogue covers) and has been featured on the cover of 17 issues of W, including one issue with nine different covers featuring the model. W even names Moss its muse (September 2003 issue). She has worked with the most well-known photographers in the fashion industry today, such as Mario Testino , Mario Sorrenti , Steven Klein, Juergen Teller , and Peter Lindbergh . She won the prestigious Vogue/CFDA award from the Fashion Designers of America in July 2005 as Fashion Inspiration. The haute couture dress she wore to the award ceremony was from the Christian Dior fall 2005 haute couture designed by John Galliano.
April 2005 saw the launch of the Rimmel London mascara TV ad featuring a leather-clad Kate Moss riding a motorbike through London to the sound of underground rock musician Steven Crayn .
As of April 2006, camera company Nikon have also signed her to be the face of their new Coolpix S6 digital camera; the photoshoot features Moss posing in a state of undress, with nothing but the camera.
Twelve months after her cocaine scandal Moss made a comeback by bagging 18 top modeling contracts for the Autumn/Winter 2006 season which include: Rimmel , Agent Provocateur , Virgin Mobile , Belstaff , Beymen, Dior , Louis Vuitton , Roberto Cavalli , Longchamp , Stella McCartney , Bulgari , Chanel , Nikon , David Yurman , Versace , Mia Shvili, Calvin Klein Jeans and Burberry . Moss has also agreed to make her first foray into the design world by designing a collection, in collaboration with Katy England, for Topshop ,Moss launched a fragrance and body lotion range bearing her name in association with Coty in 2007.According to Forbes.com Moss is earning more money than before her cocaine scandal. Her 2004–2005 earnings were $5 million and her 2005–2006 earnings were $8 million.She is currently the second highest paid model in the world behind Gisele Bündchen .
In November 2006, Moss won the Model of the Year prize at the British Fashion Awards , the top accolade in British fashion, but the award has divided opinion and stirred fresh controversy.
On September 27 , 2007 , The Sun published a story entitled, "Kate Moss dumped by seven brands", describing her "cocaine honeymoon" as fading away. The story continues by stating that last autumn 2006 she had eighteen contracts in comparison to 2007's eleven. And this time last year, fashion bible Vogue had six campaigns using Moss including Dior , Louis Vuitton and Burberry . November 2007's issue has none. The story concludes by saying that an industry source has said "She is still very big but the honeymoon period has ended."
Despite these press reports, Moss was later announced as the face of Donna Karan , Yves Saint-Laurent and Roberto Cavalli for spring 2008.
Despite all press reports and comments about her relevancy as a model, Moss frequently appears in advertising campaigns; most recently she appears in the Fall 2008 advertising campaigns for Donna Karan Collection, Stella McCartney and Roberto Cavalli.
Fashion designer
On May 1 , 2007 a collection of clothes, designed by Moss exclusively for the Topshop chain, were launched across the UK in the chain's 225 stores. A Kate Moss "countdown to launch" board filled a window of the company's flagship Oxford Street store and on April 30 , Moss launched the clothing line at Topshop in Oxford Street, where she briefly appeared in the shop window modelling a red dress from the clothing collection just before the shop was opened, causing a media frenzy. Topshop has reportedly paid Moss £3 million for her work. The collection of fifty designs includes clothes , bags , shoes and belts where prices range from £12 for a vest top to £150 for a cropped leather jacket . Clothes in the collection include skinny jeans , one-shoulder mini dresses and t-shirts with the letter K woven in to the design. However shoppers are limited to five items each to prevent the clothes appearing on eBay and are only allowed to try on eight garments in the shop. Despite these efforts, the day after the launch saw hundreds of items up for sale on eBay.Although bulk buying is restricted the collection is not a limited edition and the range will remain in stores for an indefinite period.
The collection received mixed reviews from the fashion press. British fashion critics lauded the range, however the New York Post hailed it "Duplikate", based on the strong similarities between Moss's own wardrobe.The range was mildly criticized by fashion advisors Trinny Woodall and Susannah Constantine who argued that the clothing was modelled for only the slimmest of women, and that they were not suitable for an average woman's figure. They stated "No one has a figure like hers so her clothes only really look good on her — not real women." The TopShop range was later released in America at the New York chain store Barneys where 26 designs from the range were on sale for higher prices.[Moss underwear collection for Topshop went on sale on October 25 , 2007 .
Gay Fashion Designers
Most Fashion Desginers who are men are gay. I went to Gay.com to find out more about teh famous desginers and their loved ones!
Gay men have long been associated with the arts and creative professions. While some in the GLBT community have criticized the popular television series " Queer Eye for the Straight Guy " for reinforcing the stereotype that gay men have a superior sense of style, many of the best-known fashion designers of the past century have, in fact, been gay or bisexual.
Until recently, most gay or bisexual fashion designers did not publicly acknowledge their sexuality. Nevertheless, some were assumed to be queer based in part on the company they kept. British designer Sir Norman Hartnell (born 1901), the official dressmaker for the British royal family who created Queen Elizabeth's wedding and coronation gowns, never married and moved in theatrical circles.
Christian Dior (born 1905) lived in Paris during the 1920s, where he became friends with gay playwright Jean Cocteau and his bohemian circle. Although Dior mentioned an intimate friendship in his autobiography, he did not explicitly reveal his sexual orientation.
Rudi Gernreich (born 1922), who in the 1960s became famous for creating the first women's topless bathing suit, also never publicly came out as gay. After fleeing the Nazis in Austria as a teenager, Gernreich settled in Los Angeles. In 1950, he began a relationship with Harry Hay . A year later, Hay, Gernreich, and several other gay men founded the Mattachine Society, one of the first U.S. homophile organizations. Although Hay later received recognition as a gay rights pioneer, he kept Gernreich's secret; the latter's sexual orientation did not come to light until after his death in 1985.
Other designers only revealed they were gay late in life. Sir Hardy Amies (born 1909), who succeeded Hartnell as the queen's dressmaker, did not publicly acknowledged his homosexuality until his old age.
Yves Saint Laurent (born 1936), who as a child was taunted by his peers for being effeminate, did not come out until 1991, in an interview with "Le Figaro" newspaper.
Similarly, 72-year-old Italian designer Valentino Garavani and his former lover and long-time business partner Giancarlo Giammetti finally came out in the August 2004 issue of "Vanity Fair" magazine.
Some queer fashion designers gained fame through their connections with celebrities. Halston (born Roy Halston Frowick in 1932) and Calvin Klein (born 1942) were among the "Velvet Mafia" connected with New York City's Studio 54 disco in the late 1970s, inhabiting gossip columns along with the likes of Andy Warhol, Liza Minnelli, and Bianca Jagger. Halston's increasing drug use, frequent encounters with callboys, and destructive relationship with a Venezuelan lover led to his firing by his parent corporation.
Klein married young and had a daughter, but divorced in 1974. Although he increasingly engaged in liaisons with men, Klein struggled with his sexuality. Yet as one of the first designers to feature buff young men in his famous underwear ads, Klein "made homoeroticism a staple of consumer culture," asserts fashion writer Shaun Cole.
Gianni Versace, born to a poor family in southern Italy in 1946, also hobnobbed with the rich and famous, including his friends Elton John and Princess Diana. Open about his homosexuality, Versace lived with his lover, former model Antonio D'Amico, for more than 10 years. On July 15, 1997, Versace was shot on the steps of his Miami Beach home by gay serial killer Andrew Cunanan, ending a cross-country murder spree that claimed four other lives.
During the 1980s, AIDS had a devastating effect on the fashion world. In 1985, Italian designer Giorgio Armani lost his lover and business partner, Sergio Galeotti, to the disease.
In May 1986, designer Perry Ellis died of AIDS at age 46.
The following year, WilliWear founder Willi Smith - one of the best-known African-American designers -- died of AIDS-related pneumonia. Halston was diagnosed with AIDS in 1988 and died two years later in San Francisco.
In 1990, after AIDS claimed his lover and business partner of 15 years, Jean-Paul Gaultier considered giving up design and committing suicide; instead, he devoted himself to his work, and rekindled his career when he created Madonna's famous bullet-bra corset.
Today, a new generation of designers can live openly -- and even flamboyantly -- gay lives. Domenico Dolce (born 1958) and Stefano Gabbana (born 1962) became lovers in the early 1980s and business partners soon thereafter.
Texas-bred Tom Ford (born 1961), who designed for the houses of Gucci and Saint Laurent, is in a long-term relationship with fashion magazine editor Richard Buckley.
In 2002, Alexander McQueen (born 1969) married his lover, filmmaker George Forsyth, on a yacht off the island of Ibiza.
And Brooklyn-born Isaac Mizrahi (born 1962) is famous not only for creating lavish gowns for Hollywood stars, but also for his television talk show.
While queer men continue to play a prominent role in the world of fashion design, it has become more acceptable for heterosexual (or "metrosexual") men to take an interest in their appearance. "Men are finally accepting the role of sexual attraction and are more comfortable with it," Dolce said in a 2001 interview. "It isn't just a gay thing to enjoy fashion any more."
Heatherette
Heatherette is a funky a stylish company that produces awesome and authentic looking clothes. Here is some information about them that I found on wikipedia.com and nymag.com! Check it out and buy some of their clothes. You can alos see then on their cool website heatherette.com!
Heatherette is a fashion company and design house run by Traver Rains and Richie Rich . It is located in New York City . It owes its roots to the designer, Richie Rich's, status as a " Club Kid " in the late 1980s and early 1990s.
In late 1999, Rains and Rich and buyer at the downtown store Patricia Field who ordered twenty of them on the spot.
Heatherette has been seen on Gwen Stefani , Pamela Anderson , Mya , Kelis , Pink , Paris Hilton , Aubrey O'Day , and other celebrities. Lydia Hearst , the daughter of Patricia Hearst , has modeled in several Heatherette runway shows. For the Fall 2007 collection she and the Heatherette designers collaborated on a limited edition leather bag for Puma .
Heatherette made a splash in the fashion industry very early on, receiving editorial credits in such magazines as Vanity Fair , W , Surface , Paper , YM , In Style , ID , Flaunt , Italian Vogue , and Rolling Stone . An especially wild Heatherette fashion show, which featured Anna Nicole Smith and Boy George , is chronicled in the 2006 nonfiction book, Confessions from the Velvet Ropes by Glenn Belverio . Heatherette has also been featured in New York Fashion Week .
Nothing says "trash and flash" like the dazzling New York pop aesthetic of fashion duo Traver Rains and Richie Rich. The former cowboy and infamous club kid birthed their line when a Patricia Field buyer spotted Rich in one of his own leather tops, ordering 20 of them on the spot. Hip hop star Foxy Brown saw the tops at Patricia Field, and asked Rains and Rich to design her outfits for the MTV Video Music Awards. Soon, Lil' Kim had bought five leather shirts for her tour, and Gwen Stefani wore one of their tops in Entertainment Weekly. The pair has created Hello Kitty couture, crafted sequined and studded mini dresses for Shirley Manson and Paris Hilton, neon, tattered tees for Pink and Justin Timberlake, and crafty, one-of-a-kind looks for David Beckham, Alicia Keys, and Britney Spears. Their crazed-club-kid-meets-award-show-chic designs aren't for shrinking violets—only paparazzi-stopping exhibitionists need apply
Fashion Week
Fashion Weeks is VERY important for fashion designers! It is a week when a designer shows off what they have been working on all year! I went on wikipedia.com to find what fashion week really is and the history of it!
A fashion week is a fashion industry event, lasting approximately one week, which allows fashion designers or "houses" to display their latest collections in runway shows. The most prominent fashion weeks are held in the fashion capitals like Milan , Paris , London , and New York City . In the early and mid 2000s, fashion weeks sprang up around the globe to draw attention to designers elsewhere
Characteristics
In the major fashion capitals, fashion weeks are semiannual events. January through March designers showcase their fall collections and September through November the spring collections are shown. Fashion weeks must be held several months in advance of the season to allow the press and buyers a chance to preview fashion designs for the following season. This is also to allow time for retailers to arrange to purchase or incorporate the designers into their retail marketing.
Fashion weeks are attended by buyers for major stores, editors of fashion magazines, the media, celebrities, and members of the entertainment industry. In years past, fashion weeks were predominantly for "the trade only"; however, today they are entertainment and media events. They may include live musicians, celebrity guests, lavish galas and charity events, and a few allow the public to purchase special passes to see the runway shows or attend expositions which display handbags, jewellery, shoes, hats and cosmetics. Many important fashion design schools participate in the shows, as well.
Some fashion weeks can be genre-specific, such as a Miami Fashion Week (Swimwear), Prêt-a-Porter (ready-to-wear) Fashion Week, Couture (one-of-a-kind designer original) Fashion Week and Bridal Fashion Week, while Portland (Oregon, USA) Fashion Week shows some eco-friendly designers.
History
The earliest fashion week, held in New York City in 1943 , was intended to attract attention away from French fashion during World War II , when fashion industry insiders were unable to travel to Paris to see French fashion shows. Fashion publicist Eleanor Lamber organized an event she called "Press Week" to showcase American designers for fashion journalists , whose innovations had been previously neglected.(Buyers were not admitted to the shows and instead had to visit designers' showrooms.Press Week was a success, and fashion magazines like Vogue, which were normally filled with French designs, increasingly featured American fashion. However after the war, people returned to Paris, and to other fashion "superpowers"; London and Milan, for the new fashion weeks that had emerged. At this point in time, these four cites controlled the fashion calendar, and continue to control it to this day. In the aspects of the buying side, and journalistic side, that is good, as it means less travel and the ease of simply jetting from New York, to the next in line London, then to Milan and lastly Paris in the space of one month. For buyers abroad, the convenience of this arrangement has meant that due to the proximity of London to Milan and to Paris, it means the fashion week is getting even more important.
The one major criticism is, is that talented designers from emerging fashion weeks like Los Angeles or São Paulo, do not get the same recognition as the designers that show in the traditional four fashion weeks, of Paris, London, Milan or New York. It also means that the established designers 'rule' the market, and new designers such as those from lesser economically developed countries, may not be able to open a slot in the fashion week schedule, in the four fashion capitals, hence, although maybe possessive of talent, their abilities to showcase this are severely hindered.
Hair Extensions-The Good, The Bad & The Ugly
Hair Extensions! Every celebrity has them. Do you want them? If you do read this artical that I found on hairboutique.com to find out the facts about Hair Extensions and whether they are right for you!
Almost everyone will agree that having long hair is a lot of time and effort. Sometimes it seems like the time and effort involved is too much. The instant way to long hair is long haired wigs, long hair pieces or hair extensions.
Hair extensions have been popular off and on for several years. Many movie stars ranging from Madonna and Demi Moore to Cameron Diaz have used hair extensions for movie roles. It is a great way to create an instant long haired look.
With the recent introduction of clip-in extensions more women, celebrities and non-celebs alike, are wearing add-on tresses.
What Are Hair Extensions?
Many people are curious about what materials are used to create various hair extensions. This is not an easy answer since hair extensions can be created from 100% real human hair, 100% synthetic hair or a mixture of human, synthetic and animal hair.
Hair extensions are available in just about any color, texture or length. Popular TV star Brandi often wears extensions as well.
How Hair Extensions Are Applied
The hair extension is placed on the parting of a small section of hair and the hair criss-crossed over the extension. The real hair and the hair extension are then tightly plaited or braided together and painted with a bonding solutions. A heated clamp melts the solution sealing the extension around the hair. This is known as "heat sealing".
Hair extensions must be attached by a professional hairdresser or hair expert. It is very difficult and risky to attempt to add hair extensions on your own. Not only will the attachments be hard to handle, you may wind up with an uneven overall length or possibly damage your hair unnecessarily.
Life Expectancy Of The Extension
Most extensions, if applied properly, will last up to four months. After this the special glue-like bond attached to your natural hair will begin to loosen and fall off. Many people will only keep their hair extensions for a short period of time for a special event or occasion. How long extensions are kept is a personal decision.
Care Of Your Hair Extensions:
Hair extensions are washed and treated the same way as you do your natural hair. Hair extensions do tend to wear out with normal wash and wear. As your hair grows, this will tend to affect the extensions. It is recommended that you used high quality gentle hair care products to encourage a long life for your extensions.
Removing The Extension
Removal of hair extensions can be done by the professional that applied them or can be carefully removed at home. You can remove hair extensions by twisting the tiny braided attachments and then gently snapping the seal.
Disadvantages Of Hair Extensions
It is a well known fact that hair extensions can do damage to your natural hair. The glue that is attached to your natural hair can burn and split the ends of your hair. This means that you will almost always be required to have the ends of your hair cut after the extensions are removed.
Also, if a lot of long or heavy extensions are added, this applies additional pressure to your scalp. One of the dangers of extra pressure to your scalp can be a thinning of your natural hair. In some cases there have been reports of headaches from the added weight of the hair or allergies to the bonding glue that is used. Everyone is different and will react to hair extensions in a different way. They are not necessarily good or bad. It depends on a number of factors that you have to consider.
If you are trying to grow your hair long, you might want to think seriously of the potential damage the hair extensions could do to your long hair quest. However, if you only would like a new look for a few months and are prepared to lose some inches along with the extensions, they can be a great solution.
The best advice is to find an expert at hair extensions and discuss all the pros and cons of the instant hair look.
Advantages Of Hair Extensions
Hair extensions can be a lot of fun if you are aware of the risks and the procedures. If you get good advice and find a professional who is skilled at extensions here are some of the advantages you can enjoy:
1. You have an instant new look that is fairly easy to care for once it is applied.
2. You can change the look at any time and know that the long hair has a limited life cycle.
3. You can have an intricate patterns of different colors or beads added to the extension without additional damage to your hair.
4. You can try the look and feel of long hair before you decide to invest a lot of time and energy growing your own.
Summary:
Hair extensions can provide the instant gratification of a gorgeous new long hair look. It can also be costly and time-consuming to have applied.
There are both pros and cons for hair extensions. As long as you do the research and are willing to assume the risks hair extensions can be a new adventure for your hair.
To read lots of great tips by real Do It Yourself hair extension experts check out
Chocolate
Chocolate is every girls best friend! Thanks to Wikipedia.com I found out more information about choclate! Check it out and see what you are putting into your body!
Chocolate comprises a number of raw and processed foods that are produced from the seed of the tropical cacao tree. Native to lowland, tropical South America , cacao has been cultivated for at least three millennia in Central America and Mexico , with its earliest documented use around 1100 BC. The majority of the Mesoamerican peoples made chocolate beverages, including the Maya and Aztecs , who made it into a beverage known as xocolātl, a Nahuatl word meaning "bitter water". The seeds of the cacao tree have an intense bitter taste, and must be fermented to develop the flavor. After fermentation, the beans are dried, cleaned, and roasted, and the shell is removed to produce cacao nibs. The nibs are then ground and liquified, resulting in pure chocolate in fluid form: chocolate liquor . The liquor can be further processed into two components: cocoa solids and cocoa butter .
Pure, unsweetened chocolate contains primarily cocoa solids and cocoa butter in varying proportions. Much of the chocolate consumed today is in the form of sweet chocolate , combining chocolate with sugar . Milk chocolate is sweet chocolate that additionally contains milk powder or condensed milk. " White chocolate " contains cocoa butter, sugar, and milk but no cocoa solids (and thus does not qualify to be considered true chocolate). Chocolate contains alkaloids such as theobromine and phenethylamine , which have physiological effects on the body. It has been linked to serotonin levels in the brain. Scientists claim that chocolate, eaten in moderation, can lower blood pressure. Dark chocolate has recently been promoted for its health benefits, including a substantial amount of antioxidants that reduce the formation of free radicals, though the presence of theobromine renders it toxic to some animals, such as dogs and cats .
Chocolate has become one of the most popular flavors in the world. Gifts of chocolate molded into different shapes have become traditional on certain holidays: chocolate bunnies and eggs are popular on Easter , chocolate coins on Hanukkah , Santa Claus and other holiday symbols on Christmas , and hearts on Valentine's Day . Chocolate is also used in cold and hot beverages, to produce chocolate milk and hot chocolate .
Etymology
The word "chocolate" comes from the Aztecs of Mexico , and is derived from the Nahuatl word xocolat which is a combination of the words, xocolli, meaning "bitter", and atl, which is "water". The Aztecs associated chocolate with Xochiquetzal , the goddess of fertility. Chocolate is also associated with the Maya god of fertility. Mexican philologist Ignacio Davila Garibi, proposed that "Spaniards had coined the word by taking the Maya word chocol and then replacing the Mayan term for water, haa, with the Aztec term, atl."However, it is more likely that the Aztecs themselves coined the term,having long adopted into Nahuatl the Mayan word for the "cacao" bean; the Spanish had little contact with the Maya before Cortés' early reports to the Spanish King of the beverage known as xocolatl. William Bright noted that the word xocoatl does not occur in early Spanish or Nahuatl colonial sources.
History
A mug of hot chocolate. Chocolate was first drunk rather than eaten.
Chocolate has been used as a drink for nearly all of its history. The earliest record of using chocolate dates back to the Maya. In November 2007, archaeologists reported finding evidence of the oldest known cultivation and use of cacao at a site in Puerto Escondido, Honduras , dating from about 1100 to 1400 BC. The residues found and the kind of vessel they were found in indicate that the initial use of cacao was not simply as a beverage, but the white pulp around the cacao beans was likely used as a source of fermentable sugars for an alcoholic drink.The Maya civilization grew cacao trees in their backyard, and used the cacao seeds it produced to make a frothy, bitter drink.Documents in Maya hieroglyphs stated that chocolate was used for ceremonial purposes, in addition to everyday life. The chocolate residue found in an early ancient Maya pot in Río Azul, Guatemala , suggests that Maya were drinking chocolate around 400 AD. In the New World , chocolate was consumed in a bitter, spicy drink called xocoatl, and was often flavored with vanilla , chile pepper , and achiote (known today as annatto ).[ Xocoatl was believed to fight fatigue, a belief that is probably attributable to the theobromine content. Chocolate was also an important luxury good throughout pre-Columbian Mesoamerica , and cacao beans were often used as currency .For example, the Aztecs used a system in which one turkey cost one hundred cacao beans and one fresh avocado was worth three beans.[South American and European cultures have used cocoa to treat diarrhea for hundreds of years.[All of the areas that were conquered by the Azetcs that grew cacao beans were ordered to pay them as a tax , or as the Aztecs called it, a "tribute".[Until the 1500s, no European had ever heard of the popular drink from the Central and South American peoples.It was not until the Spanish conquest of the Aztecs that chocolate could be imported to Europe, where it quickly became a court favorite.To keep up with the high demand for this new drink, Spanish armies began enslaving Mesoamericans to produce cacao.Even with cacao harvesting becoming a regular business, only royalty and the well-connected could afford to drink this expensive import.Before long, the Spanish began growing cacao beans on plantations, and using an African workforce to help manage them. The situation was different in England. Put simply, anyone with money could buy it.[The first chocolate house opened in London in 1657. In 1689, noted physician and collector Hans Sloane developed a milk chocolate drink in Jamaica which was initially used by apothecaries , but later sold to the Cadbury brothers.
For hundreds of years, the chocolate making process remained unchanged. When the people saw the Industrial Revolution arrive, many changes occurred that brought the hard, sweet candy we love today to life. In the 1700s, mechanical mills were created that squeezed out cocoa butter, which in turn helped to create hard, durable chocolate.But, it was not until the arrival of the Industrial Revolution that these mills were put to bigger use. Not long after the revolution cooled down, companies began advertising this new invention to sell many of the chocolate treats we see today.When new machines were produced, people began experiencing and consuming chocolate worldwide
Types of chocolate:
Alongside milk chocolate , white chocolate and dark chocolate are also common chocolate varieties.
White chocolate is formed from a mixture of sugar , cocoa butter , and milk solids. Although its texture is similar to milk and dark chocolate, it does not contain any cocoa solids; thus not officially qualifying as true chocolate. Because of this, many countries do not consider white chocolate as chocolate at all. Although first introduced by Hebert Candies in 1955, Mars, Incorporated was the first to produce white chocolate within the United States . Because it does not contain any cocoa solids, one benefit of white chocolate is that it also does not contain any theobromine , meaning it can be consumed by animals. Dark chocolate is produced by adding fat and sugar to the cacao mixture. The U.S. Government calls this "sweet chocolate", and requires a 15% concentration of chocolate liquor. European rules specify a minimum of 35% cocoa solids. Dark chocolate, with its high cocoa content, is a rich source of the flavonoids epicatechin and gallic acid , which are thought to possess cardioprotective properties. Dark chocolate has also been said to reduce the possibility of a heart attack when consumed regularly in small amounts. Unsweetened chocolate is pure chocolate liquor , also known as bitter or baking chocolate. It is unadulterated chocolate: the pure, ground, roasted chocolate beans impart a strong, deep chocolate flavor. Semisweet chocolate is often used for cooking purposes. It is a dark chocolate with a low sugar content. Bittersweet chocolate is chocolate liquor to which some sugar (typically a third), more cocoa butter, vanilla and sometimes lecithin have been added. It has less sugar and more liquor than semisweet chocolate, but the two are interchangeable in baking.
Chocolate Cupcakes!
All girls have to have a love affair with choclate..whats better then CHOCOLATE CUPCAKES!!??? YUMMY! You can find this and more on cooks.com!
MOIST CHOCOLATE CUPCAKES
1 1/2 cups flour1 cup sugar1 teaspoon baking soda
1 teaspoon salt
1/2 cup vegetable oil1 cup water
1 teaspoon vinegar
Mix all of the ingredients well with a mixer. It should be brown and smooth. Free of lumps.
Bake at 350°F for 25 minutes. Cupcakes will turn out moist and delicious.
Buttermilk or milk may be substituted for water. Melted butter may be substituted for oil.
Barbie
What girl has NOT owned a Barbie when they were kids? Heres the hisotry of Barbie adn how she came to be: You can find this and more on wikipedia.com!
Barbie is a best-selling fashion doll launched in 1959. The doll is produced by Mattel, Inc. , and is a major source of revenue for the company. The American businesswoman Ruth Handler (1916-2002) is regarded as the creator of Barbie, and the doll's design was inspired by a German doll called Bild Lilli .
Barbie has been an important part of the toy fashion doll market for nearly fifty years, and has been the subject of numerous controversies and lawsuits , often involving parody of the doll and her lifestyle. In recent years, Barbie has faced increasing competition from the Bratz range of dolls.
History:
Ruth Handler watched her daughter Barbara at play with paper dolls, and noticed that she often enjoyed giving them adult roles. At the time, most children's toy dolls were representations of infants. Realizing that there could be a gap in the market, Handler suggested the idea of an adult-bodied doll to her husband Elliot, a co-founder of the Mattel toy company. He was unenthusiastic about the idea, as were Mattel's directors.
During a trip to Europe in 1956 with her children Barbara and Kenneth, Ruth Handler came across German toy doll called Bild Lilli . [1] The adult-figured Lilli doll was exactly what Handler had in mind, so she purchased three of them. She gave one to her daughter and took the others back to Mattel. The Lilli doll was based on a popular character appearing in a comic strip drawn by Reinhard Beuthin for the newspaper Die Bild-Zeitung . Lilli was a working girl who knew what she wanted and was not above using men to get it. The Lilli doll was first sold in Germany in 1955, and although it was initially sold to adults, it became popular with children who enjoyed dressing her up in outfits that were available separately.
Upon her return to the United States , Handler reworked the design of the doll (with help from engineer Jack Ryan ) and the doll was given a new name, Barbie, after Handler's daughter Barbara. The doll made its debut at the American International Toy Fair in New York on March 9 , 1959 . This date is also used as Barbie's official birthday . Mattel acquired the rights to the Bild Lilli doll in 1964 and production of Lilli was stopped. The first Barbie doll wore a black and white zebra striped swimsuit and signature topknot ponytail , and was available as either a blonde or brunette . The doll was marketed as a "Teen-age Fashion Model," with her clothes created by Mattel fashion designer Charlotte Johnson. The first Barbie dolls were manufactured in Japan , with their clothes hand-stitched by Japanese homeworkers . Around 350,000 Barbie dolls were sold during the first year of production.
Ruth Handler believed that it was important for Barbie to have an adult appearance, and early market research showed that some parents were unhappy about the doll's chest, which had distinct breasts. Barbie's appearance has been changed many times, most notably in 1971 when the doll's eyes were adjusted to look forwards rather than having the demure sideways glance of the original model.
Barbie was one of the first toys to have a marketing strategy based extensively on television advertising , which has been copied widely by other toys. It is estimated that over a billion Barbie dolls have been sold worldwide in over 150 countries, with Mattel claiming that three Barbie dolls are sold every second.
The standard range of Barbie dolls and related accessories are manufactured to approximately 1/6th scale , which is also known as playscale.Barbie products include not only the range of dolls with their clothes and accessories, but also a huge range of Barbie branded goods such as books, fashion items and video games . Barbie has appeared in a series of animated films and makes a brief guest appearance in the 1999 film Toy Story 2 .
Almost uniquely for a toy fashion doll, Barbie has become a cultural icon and has been given honors that are rare in the toy world. In 1974 a section of Times Square in New York City was renamed Barbie Boulevard for a week, while in 1985 the artist Andy Warhol created a painting of Barbie.
Biography
Barbie's full name is Barbara Millicent Roberts. In a series of novels published by Random House in the 1960s, her parents' names are given as George and Margaret Roberts from the fictional town of Willows, Wisconsin . Barbie has been said to attend Willows High School and Manhattan International High School in New York City , based on the real-life Stuyvesant High School . She has an on-off romantic relationship with her beau Ken (Ken Carson), who first appeared in 1961. Like Barbie, Ken shares his name with one of Ruth Handler's children. A news release from Mattel in February 2004 announced that Barbie and Ken had decided to split up, but in February 2006 they were back together again.
Barbie has had over forty pets including cats and dogs , horses , a panda , a lion cub, and a zebra . She has owned a wide range of vehicles, including pink convertibles , trailers and jeeps . She also holds a pilot's license, and operates commercial airliners in addition to serving as a flight attendant . Barbie's careers are designed to show that women can take on a variety of roles in life, and the doll has been sold with a wide range of titles including Miss Astronaut Barbie (1965), Doctor Barbie (1988) and Nascar Barbie (1998).Mattel has created a range of companions for Barbie, including Hispanic Teresa, Midge , African American Christie and Steven (Christie's boyfriend). For more details, see the List of Barbie's friends and family .
Contorversies
Barbie's popularity ensures that her effect on the play of Western children attracts a high degree of scrutiny. The criticisms leveled at her are often based on the assumption that children consider Barbie a role model and will attempt to emulate her.
In September 2003 the Middle Eastern country of Saudi Arabia outlawed the sale of Barbie dolls, saying that she did not conform to the ideals of Islam . The Committee for the Propagation of Virtue and Prevention of Vice stated "Jewish Barbie dolls, with their revealing clothes and shameful postures, accessories and tools are a symbol of decadence to the perverted West. Let us beware of her dangers and be careful."In Middle Eastern countries there is an alternative doll called Fulla which is similar to Barbie but is designed to be more acceptable to an Islamic market. Fulla is not made by the Mattel Corporation, and Barbie is still available in other Middle Eastern countries including Egypt . In Iran , Sara and Dara dolls are available as an alternative to Barbie.
The word Barbie has come to be used as a derogatory slang term for a girl or woman who is considered shallow, most notably in the 1997 pop song Barbie Girl (see Parodies and lawsuits below).
In July 1992 Mattel released Teen Talk Barbie, which spoke a number of phrases including "Will we ever have enough clothes?", "I love shopping!", and "Wanna have a pizza party?" Each doll was programmed to say four out of 270 possible phrases, so that no two dolls were likely to be the same. One of these 270 phrases was " Math class is tough!" Although only about 1.5% of all the dolls sold said the phrase, it led to criticism from the American Association of University Women . In October 1992 Mattel announced that Teen Talk Barbie would no longer say the phrase, and offered a swap to anyone who owned the doll.
One of the most common criticisms of Barbie is that she promotes an unrealistic idea of body image for a young woman, leading to a risk that women who attempt to emulate her will become anorexic . A standard Barbie doll is 11.5 inches tall, giving a height of 5 feet 9 inches at 1/6 scale . Barbie's vital statistics have been estimated at 36 inches (chest), 18 inches (waist) and 33 inches (hips). According to research by the University Central Hospital in Helsinki , Finland , she would lack the 17 to 22 percent body fat required for a woman to menstruate . [13] In 1965 Slumber Party Barbie came with a book entitled How to Lose Weight which advised: "Don't eat." The doll also came with pink bathroom scales reading 110lb, which would be around 35lbs underweight for a woman 5 feet 9 inches tall. In 1997 Barbie's body mold was redesigned and given a wider waist, with Mattel saying that this would make the doll better suited to contemporary fashion designs.
Oreo Fun Barbie from 1997 became controversial due to a negative interpretation of the doll's name
"Colored Francie " made her debut in 1967, and she is sometimes described as the first African American Barbie doll. However, she was produced using the existing head molds for the white Francie doll and lacked African characteristics other than a dark skin. The first African American doll in the Barbie range is usually regarded as Christie, who made her debut in 1968 Black Barbie and Hispanic Barbie were launched in 1980.
In 1997 Mattel joined forces with Nabisco to launch a cross-promotion of Barbie with Oreo cookies . Oreo Fun Barbie was marketed as someone with whom little girls could play after class and share "America's favorite cookie." As had become the custom, Mattel manufactured both a white and a black version. Critics argued that in the African American community Oreo is a derogatory term meaning that the person is "black on the outside and white on the inside," like the chocolate sandwich cookie itself. The doll was unsuccessful and Mattel recalled the unsold stock, making it sought after by collectors.
In May 1997 Mattel introduced Share a Smile Becky, a doll in a pink wheelchair . Kjersti Johnson, a 17-year-old high school student in Tacoma, Washington with cerebral palsy , pointed out that the doll would not fit into the elevator of Barbie's $100 Dream House. Mattel announced that it would redesign the house in the future to accommodate the doll.
In March 2000 stories appeared in the media claiming that the hard vinyl used in vintage Barbie dolls could leak toxic chemicals, causing danger to children playing with them. The claim was rejected as false by technical experts. A modern Barbie doll has a body made from ABS plastic, while the head is made from soft PVC .
In December 2005 Dr. Agnes Nairn at the University of Bath in England published research suggesting that girls often go through a stage where they hate their Barbie dolls and subject them to a range of punishments, including decapitation and placing the doll in a microwave oven . Dr. Nairn said: "It's as though disavowing Barbie is a rite of passage and a rejection of their past."
Collecting:
Mattel estimates that there are well over 100,000 avid Barbie collectors. Ninety percent are women, at an average age of 40, purchasing more than twenty Barbie dolls each year. Forty-five percent of them spend upwards of $1000 a year.
Vintage Barbie dolls from the early years are the most valuable at auction , and while the original Barbie was sold for $3.00 in 1959, a mint boxed Barbie from 1959 sold for $3552.50 on eBay in October 2004. On September 26 , 2006 , a Barbie doll set a world record at auction of £9,000 sterling (US $17,000) at Christie's in London . The doll was a Barbie in Midnight Red from 1965 and was part of a private collection of 4,000 Barbie dolls being sold by two Dutch women, Ietje Raebel and her daughter Marina.
In recent years Mattel has sold a wide range of Barbie dolls aimed specifically at collectors, including porcelain versions and depictions of Barbie as a range of characters from television series such as The Munsters and Star Trek .There are also collector's edition dolls depicting Barbie dolls with a range of different ethnic identities.In 2004 Mattel introduced the Color Tier system for its collector's edition Barbie dolls, ranging through pink, silver, gold and platinum depending on how many of the dolls are produced.
Colors!!
Fashion deals with color! Color represent mood and personality! I went on digitalskratch.com to find out what colors really mean.
Color plays such an important role in our lives whether we realize it or not. It has the ability to influence our feelings and emotions in a way that few other mediums can. It can control our moods and thoughts. Color has the ability to make us feel happy, depressed, excited, relaxed, hungry and creative.
We are faced with color choices all the time wither we realize it or not. The first crucial decision of the day usually comes in the morning when decide what to wear. Often times we will pick our clothes out based on the color of the mood we are feeling or wish to portray that day. The colors that we choose to show the world are often a direct reflection of personality.
Colors have a deep subliminal meanings that effects our thinking and rational. They have symbolic meaning that changes amongst cultures and countries. As a result of this color research and planning is a vital part of the design process. Before one can even begin a design or marketing campaign they must choose the appropriate colors that are both effective to there message and also compliment each other.
Colors are a part of our pop-culture. We associate our favorite sports team by their team colors. Red Sox, White Sox, Cleveland Browns, Duke Blue Devils among a few teams to incorporate a color into their name. Colors have become a part of our every day vocabulary; “Canary Yellow” “Carolina Blue” “John Deer Green” “Fire Engine Red”.
There are the three primary colors of Red, Yellow and Blue. Then there are secondary colors of Green, Orange and Purple. Additionally there are Tertiary colors that are combinations of the first two sets. Complimentary colors are opposite each other on the color wheel and often evoke feelings of excitement. Analogous colors are those that are close to each other on the color wheel. These give a particular feeling wither it be warm and cozy or cold and depressing.
There are many different technical aspects when it comes to working with colors. In the print world Pantone and CMYK are the color formats, while online RGB and Hexadecimal is the medium. Because of this it is important that both the web and graphic designers work closely on the color process to make sure their colors transfer smoothly from one medium to another. A color may look one way on a particular screen but when printed out it looks totally different. It is important to come up with a color palate listing all of the different color codes that will ensure a unified color scheme throughout print and web.
Red is a very strong color. It is a noticeable color that is often used on caution and warning signs. It is often associated with stop or “beware”. It’s a hot color that evokes a powerful emotion of passion, lust, sex, energy, blood and war. Red is a good color to use for accents that need to take notice over other colors. Red is often used in flags for nations, as it is a symbol of pride and strength. It is also a sporty color that many car manufactures choose to showcase their signature vehicles in.
Orange is a combination of Red and Yellow. It is also a bright and warm color. It represents fire, the sun, fun, warmth and tropical images. It is considered a fun light color that has appetizing qualities to it. Orange increases oxygen supply to the brain and stimulates mental activity. It is highly accepted among young people. As a citrus color, orange is associated with healthy food and stimulates appetite. Any design relating to the tropics, something fun, easy going and youthful should incorporate some type of orange into the design. A darker, richer shade of orange can be associated with autumn.
Yellow is the brightest color to the human eye. It represents youth, fun, happiness, sunshine and other light playful feelings. It is a cheerful energetic color. Yellow is often used for children’s toys and clothes. Yellow is often hard to read when placed on a white background so designers must be careful when using yellow that it isn't’t too hard to read or notice. Though yellow is a bright cheerful color as it starts to darken it however quickly becomes a dirty and unpleasant color. Yellow can also be associated with being scared and cowards. The term “yellow belly” is proof of that.
Green is the color of nature and health. It represents growth, nature money, fertility and safety. Green is a relaxing color that is easy on the eye and has a healing power to it. It is often used to represent anything having to do with health. Many pharmaceutical and nutritional companies use green in their logos and material to advertise safe natural products. Dark green is commonly associated with the military, money, the financial and banking. However it can also be associated with being new or inexperienced as being green or a “green horn”. Green is becoming a very popular color in design for web site's.
Blue is a cool calming color that shows creativity and intelligence. It is a popular color among large corporations, hospitals and airlines. It is a color of loyalty, strength, wisdom and trust. Blue has a calming effect on the psyche. Blue is the color of the sky and the sea and is often used to represent those images. Blue is a color that generally looks good in almost any shade and is a popular color among males. Blue is not a good color when using it for food as there are few blue foods found in nature and suppresses the appetite.
Purple combines the stability of blue and the energy of red. Throughout history purple has been associated with royalty, nobility and prestige. It symbolizes mystery, magic, power and luxury. Purple is often used to portray rich powerful kings, leaders, wizards and magicians. Purple combined with gold can be flashy and portray wealth and extravagance. Light purple and pink is good for a feminine design and is a popular color among teenage girls. Bright purple along with yellow is commonly used in promoting children's products. It gives the appearance of something that is fun and easy to do.
Black is often a color used to portray something evil, depressing, scary or even death in the western civilization. It has negative imagery with it at times such as “black mail” “black list” “black hole” etc. Black is also a very powerful color that also portrays one of class elegance and wealth. Many classy clothing is designed in black from the “power suit” to the “sexy black dress” to formal “black-tie attire”. Black combined with other colors can have a very strong statement. Black is a color that can fit into almost every design to add contrast, type and make the other colors stand out more.
White is often associated with being pure, clean, fresh and good. The color of a fresh snowstorm brings up images of a peaceful and pure winter scene.
White is a common background for Webster's as it is easy to read black or dark text on it. When used with a design using lots of negative space it gives a very clean look to it. White is also used lots for charities and non-profit organizations to denote something good and positive. Hollywood often portrays their characters in white as being good; the white horse, the cowboy with the white hat, the white wizard etc. White usually is associated with being pure and almost heavenly. White is associated with hospitals, doctors, angles, heaven.
History Of Vogue Magazine
I LOVE reading Vogue magazine..it gives you the updates and information about the fashion industry! I went on wikipedia.com to find out the magazines history!
History
Vogue was described by book critic Caroline Weber in The New York Times in December 2006 as the world's most influential fashion magazine :
"Vogue is to our era what the idea of God was, in Voltaire’s famous parlance, to his: if it didn’t exist, we would have to invent it. Revered for its editorial excellence and its visual panache, the magazine has long functioned as a bible for anyone worshiping at the altar of luxury, celebrity and style. And while we perhaps take for granted the extent to which this trinity dominates consumer culture today, Vogue’s role in catalyzing its rise to pre-eminence cannot be underestimated."
Vogue was founded by Arthur Baldwin Turnure in 1892. When he passed away in 1909, Conde Nast picked it up and slowly began growing the publication. Today, there are different editions of Vogue published around the world: Australia , Brazil , China , France , Germany , Greece , India , Italy , Japan , Korea , Mexico , Portugal , Russia , Spain , Switzerland , Taiwan , United Kingdom and the United States . Under the ownership of New York-based magazine publisher Condé Nast and through a succession of women editors, Vogue is most famous as a presenter of images of high fashion and high society, but it also publishes writings on art, culture, politics, and ideas. On the way, it has helped to enshrine the fashion model as celebrity . Vogue is regularly criticized, along with the fashion industry it writes about, for valuing wealth, social connections, and low body weight over more noble achievements. The magazine celebrated its 114th birthday in 2006.
The magazine surged in subscriptions during the Depression and World War II , a period during which noted critic and former Vanity Fair editor Frank Crowninshield served as its editor, having been moved over from Vanity Fair by publisher Condé Nast .
1960s
In the 1960s, with editor in chief and personality Diana Vreeland in charge, the magazine rose to the occasion of this candy-colored, youth-oriented decade of sexual revolution by focusing more on the fashions of the times, through daringly playful, theatrical, and straightforwardly sexual editorial features. Vogue also continued making household names out of models, a practice that continued with Suzy Parker , Twiggy , Penelope Tree , and others. [3]
1970s-1980s
Under the tenure of editor-in-chief Grace Mirabella through the 1970s and 1980s, the bimonthly magazine became a monthly, and the revolutionary air of the sixties gave way to more practical clothing. The magazine's female audience was no longer in the kitchen dreaming of a better life. It was heading out every morning for work, and editorial changes reflected this new reality.
Present day
The current editor-in-chief of American Vogue is Anna Wintour , noted for her trademark bob and her practice of wearing sunglasses indoors. Since taking over in 1988, Wintour has worked to protect the magazine's No. 1 status among fashion publications in term of reputation. In order to do so, she brought the magazine down from what Time called "its Olympian heights, acknowledging that trends are as likely to start from the ground as be decreed from on high."This allowed Wintour to keep a high circulation while discovering new trends that a broader audience could conceivably afford. For example, the inaugural cover of the magazine under Wintour's editorship featured a three-quarter-length photograph of a model wearing a bejeweled Christian Lacroix jacket and a pair of jeans , departing from her predecessors' tendency to portray a woman’s face alone, which according to the Times' Weber, gave "greater importance to both her clothing and her body. This image also promoted a new form of chic by combining jeans with haute couture. Wintour’s debut cover brokered a class-mass rapprochement that informs modern fashion to this day."
Wintour's Vogue also aggressively nurtures new design talent, and her presence at fashion shows is often taken as an indicator of the designer's profile within the industry. In 2003, she joined the Council of Fashion Designers of America in creating a fund that provides money and guidance to at least two emerging designers each year. This has built loyalty among the emerging new star designers, and helped preserve the magazine's dominant position of influence through what Time called her own "considerable influence over American fashion. Runway shows don't start until she arrives. Designers succeed because she anoints them. Trends are created or crippled on her command.
The contrast of Wintour's vision with her predecessor has been noted as striking by observers, from both her critics and defenders. Amanda Fortini, fashion and style contributor to Slate argued that "during her tenure, Vogue has been enormously successful":
[W]hen Wintour was appointed head of Vogue, Grace Mirabella had been editor in chief for 17 years, and the magazine had grown complacent, coasting along in what one journalist derisively called "its beige years." Beige was the color Mirabella had used to paint over the red walls in Diana Vreeland's office, and the metaphor was apt: The magazine had become boring. Among Condé Nast executives, there was worry that the grand dame of fashion publications was losing ground to upstart Elle, which in just three years had reached a paid circulation of 851,000 to Vogue's stagnant 1.2 million. And so Condé Nast publisher Si Newhouse brought in the 38-year-old Wintour—who, through editor in chief positions at British Vogue and House & Garden, had become known not only for her cutting-edge visual sense but also for her ability to radically revamp a magazine—to shake things up.
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Criticism
As Wintour came to personify the magazine's image, she and Vogue drew critics. Wintour's one-time assistant at the magazine, Lauren Weisberger , authored a roman à clef entitled The Devil Wears Prada , a best-selling novel published in 2003 which was made into a highly successful, Academy Award -nominated film in 2006. The central character resembled Weisberger, and her boss was a powerful editor-in-chief of a fictionalized version of Vogue. The novel portrays a magazine ruled by "the Antichrist and her coterie of fashionistas, who exist on cigarettes, Diet Dr. Pepper, and mixed green salads", according to a review in the New York Times. The editor who personifies the magazine she runs is described by Weisberger as being "an empty, shallow, bitter woman who has tons and tons of gorgeous clothes and not much else". However, the success of both the novel and the film have brought new attention from a wide global audience to the power and glamor of the magazine, and the industry it continues to lead.
Queen Elizabeth The 1st
Queen Elizzabeth the 1st is someone who I look up too. She RULED England by herself and did a FANTASTIC job at it WITHOUT a king by her side. She proves to all women around the world that they can be successfull WITHOUT a Man!! Here are some quotes and information on her wardrobe that I found on Elizabethi.org
QUOTES:
Here lands as true a subject, being prisoner, as ever landed at these stairs. Before Thee, O God, I speak it, having none other friend but Thee alone
Much suspected by me, Nothing proved can be.
I have already joined myself in marriage to a husband, namely the kingdom of England
Better beggar woman and single than Queen and married.
I have no desire to make windows into mens souls
It would please me best if, at the last, a marble stone shall record that this Queen having lived such and such a time, lived and died a virgin.
With your head and my purse I could do anything.
will have here but one mistress and no master.
You are like my little dog; when people see you, they know I am nearby.
I know I have the body of a weak and feeble woman, but I have the heart and stomach of a king.
THE QUEENS WARDROBE:
Queen Elizabeth was a great follower of fashion. While in private she preferred to wear simple gowns, and would reputedly wear the same plain gown for two or three days, when she was in public, she dressed to impress. Clothes were an important status symbol to the Elizabethans, and a person had to dress in accordance with their social status. It was thus in keeping that the Queen dressed more magnificent than everyone else. No one was allowed to rival the Queen's appearance, and one unfortunate maid of honor was reprimanded for wearing a gown that was too sumptuous for her. The maids were meant to complement the Queen's appearance, not to outshine her. In the later years of the reign, the maids wore gowns of plain colors such as white or silver.
The Queen had dresses of all colors, but white and black were her favorite colors as they symbolized virginity and purity, and more often than not she wore a gown of these colors. The Queen's gowns would be gorgeously hand embroidered with all sorts of colored thread, and decorated with diamonds, rubies, sapphires, and all kinds of jewels. A book entitled Queen Elizabeth's wardrobe unlocked, details some of the jewels that fell off the Queen's gowns when she wore them.
Like all aristocratic Elizabethan women, the Queen would typically wear a chemise, a corset stiffened with wood or iron, a petticoat, a fathingale, stockings, a gown, sleeves, and a neck ruff and wrist ruffs. With the discovery of starch, ruffs became even more elaborate.
Queen Elizabeth's coreset adn undergarments: To complete her appearance, the Queen would wear accessories such as a fan, a pomander to ward of foul smells and it was thought infection, earrings, a diamond or pearl necklace, a brooch and a watch. Robert Dudley gave her a watch encased in a bracelet, the first known wrist watch in England. Like other women, she would also often wear a miniature Prayer Book attached to her girdle.
For the outdoors, the Queen would wear rich velvet cloaks, gloves of cloth or leather, and in warm weather, she would wear hats to shelter her pale face from the sun. For riding or hunting she would wear special riding outfits that gave easier movement. She would also wear boots such as these.
The Queen was never fully dressed without her make-up. In the early years she wore little, but following her attack of the smallpox in 1562, she would wear quite a lot to cover up the scars left on her face. She would paint her face with white lead and vinegar, put rouge on her lips, and paint her cheeks with red dye and egg white. This make-up was very bad for her health, particularly the white lead, as it slowly poisoned the body. While the Elizabethan tried very hard to take care of their teeth, and knew that to keep them clean was to keep them healthy, they did not have very sophisticated dental care, and teeth rotted. As a consequence, Elizabeth had to have several teeth removed as she grew older. To prevent the appearance of hollow cheeks, she would stuff rags into her mouth. It was very fashionable to wear a wig, and the Queen did so from a young age.
The Queen had a substantial influence on the fashion of her time, and encouraged her courtiers to dress well.
High Heels
I am addicted to wearing highheels..they can make any girl feel sexier and taller! I was interested in how high heels are made so I went to Answers.com to find out how:
Background
Shoe height has historically reflected nobility, authority, and wealth. France's King Louis XIV (1638-1715) was only 5 ft 3 in (1.6 m) tall until he donned specially-made high-heeled shoes with curved heels constructed of cork and covered with red-dyed leather, with the red color symbolizing nobility. On special occasions, his 5 in (12.7 cm) high heels were ornamented with hand-painted scenes of his military victories. Today, curved heels preserve his legacy and are known as Louis or French heels . Other heel-wearers used their footwear to boast of their wealth; the heels were so high that servants had to break them in, so to wear high heels also proved one could afford servants for this task.
Today, heels are blessed for the elegance they lend to the wearer's appearance and cursed for the damage they inflict on ankles, calves , and backs.
History
The need to gain height above the ground may have originally been inspired by the weather and street conditions rather than money or vanity. During medieval times, special wooden soles called pattens were attached to the bottoms of fragile, expensive shoes made for wearing indoors so they could be kept out of the mud and damp when converted for outdoor use. Pattens were elevated in the heels and under the ball of the foot so the wearer could walk more easily by rocking forward on them; these shapes clearly foretold of high heels.
The entire shoe was elevated in the style called the chopine that originated in Turkey in about 1400. These shoes were effectively miniature stilts that were flat on the bottom and made of cork and covered with leather or fabric. The wearer slipped her feet into the tops that were open-backed slippers called mules or straps similar to sandals. Chopines were typically 7-8 in (18-20 cm) high, but, in the extreme, they were as much as 18 in (46 cm) tall. Chopines kept the wearer's skirts out of the mud, assuming the lady could walk at all. When the style became fashionable in sixteenth century Venice, chopineshod ladies walked with a servant on either side of them so they wouldn't fall. The ladies loved the attention and the additional height, but chopines were so restrictive that women were also forced by their footwear to stay at home. The 18 in (46 cm) extreme was reached in France and England where the fashion spread from Italy.
Catherine de Medici (1519-1589) is credited with wearing the first true high heels and with taking the style to France in 1533 when she married the Duc d'Orleans, who was to become France's King Henry II. Italian designers created the high heel by modifying the chopine to eliminate its awkwardness while still raising the height of the wearer. A cork wedge was placed under the front of the shoe, with a high section under the heel. These high heels served vanity another way by making the feet appear smaller and the arch of the foot higher; both of these physical attributes were considered signs of noble birth. Catherine's Italian style was quickly adopted by the French court.
The French Revolution caused a revolution in footwear as well, and many shoe fashions vanished temporarily in the name of democracy. The red heels of the nobility disappeared completely, and showy buckles and rosettes were replaced by ribbon or cord ties. Flat shoes or very low-heeled shoes known as pumps replaced the arrogance of high heels, although high-heeled shoes and boots were restored to respectability by the mid-1800s.
Until high heels were invented, shoe soles for the left and right feet were identical and were called straights; shoes were formed on a single mold , called a last, for both feet. Shoes were bought not as a pair but as two single shoes of matching size and style. The arch shape of high heels, however, required different soles for the two feet, so, from 1818 onward, lasts were designed specifically for the left and right foot, and shoes were sold in pairs. Early pairs of shoes were termed crookeds, as opposed to the old-fashioned straights. The high-heel portions were originally made of wood or cork and were up to 6 in (15 cm) high. The French called them chaussures a port or bridge shoes, because of the open arch, or chaussures a cric, meaning clicking shoes for their sound. Usually, heels on men's shoes were larger in shape and heavier. The extreme heights of narrow heels were popular among gentlemen as well as ladies, and eighteenth century Englishmen who wore 6 in (15 cm) high heels usually walked with canes to be able to walk at all.
After World War II, the high heel regained its popularity primarily because of the growth in consumer spending and the variety and availability of designs produced. Stiletto heels, named for the narrow-bladed knives, soared into fashion in the 1950s. These 4 in (10 cm) spiked heels narrowed to pinpoints; they were made possible by seating a thin metal rod in the broader part of the wood or plastic heel that was attached to the shoe. A plastic tip was attached to the metal end, but these tips often fell off causing floors to be gouged and carpets to be ripped. Some office buildings provided overshoes for women to wear over their stiletto heels to prevent this damage. In the 1960s, stiletto heels were attached to 'wet-look' boots that enhanced the effects of miniskirts. Today's designers experiment with every material and type of ornamentation to create and embellish high heels. Heels have even been made of the lightweight aluminum used to manufacture airplane fuselage to give them strength in slender shapes.
Raw Materials
Raw materials for the manufacture of high heels include plastic, leather, wood, fabric, animal hides, paper (for patterns and labels), and various cements and glues, depending on the component materials. Nails, screw nails, and tacks are used to hold fabric or leather in place and to attach heels to the shank of the shoe. Fabric and feathers, tree branches and sequins, faux pearls, and genuine diamonds have all been used to decorate high heels.
Design
High-heel designers may be employed by the shoe manufacturer, or, more likely, are independent designers (sometimes connected to well-known fashion houses) who contract with the manufacturer to produce designs or lines of shoes bearing the designer's name. Designers work very closely with the master shoemaker who oversees the practicality of all designs for the shoe manufacturer. The designer may have an image or style to convey and a particular choice of materials, and the master shoemaker tells the designer what can be made or what production limitations are involved in the design. For example, the height of the heel may be restricted by the overall shape of the shoe or the number of stitches needed to make the shoe may affect its finished appearance (or may be impractical to manufacture). The designer and master shoemaker exchange ideas over the course of several months before they arrive at a satisfactory design.
One shoe is then made as a prototype; it is dissected into its various pieces and parts, and a pattern is made of paper. From the paper original, a master template is made of fiberboard and piped in copper so it will wear well. The fiberboard master represents the average size 8 shoe. From this master, a pantograph (a drawing tool that makes an exact copy of an outline but in a smaller or larger size) is used to outline masters on fiberboard for all other sizes in the range offered by the manufacturer in the new design. Metal dies are made to stamp out pieces in all these sizes, and the assembly line is set up to manufacture the new design. Alternatively, components of designs can be measured and scaled by computer, and the data are used to cut pieces with lasers controlled by the computer. The completed designs and templates are copyrighted and registered by the designer and manufacturer.
The ManufacturingProcess
Handmade high heels
Although most shoes today are mass-produced, handcrafted shoes are still made on a limited scale especially for performers or in designs that are heavily ornamented and expensive. The hand manufacture of shoes is essentially the same as the process dating back to ancient Rome. The length and width of both of the wearer's feet are measured. Lasts—standard models for feet of each size that are made for each design—are used by the shoemaker to shape the shoe pieces. Lasts need to be specific to the design of the shoe because the symmetry of the foot changes with the contour of the instep and distribution of weight and the parts of the foot within the shoe. Creation of a pair of lasts is based on 35 different measurements of the foot and estimates of movement of the foot within the shoe. Shoe designers often have thousands of pairs of lasts in their vaults.
The pieces for the shoe are cut based on the design or style of the shoe. The counters are the sections covering the back and sides of the shoe. The vamp covers the toes and top of the foot and is sewn onto the counters. This sewn upper is stretched and fitted over the last; the shoemaker uses stretching pliers to pull the parts of the shoe into place, and these are tacked to the last. Soaked leather uppers are left on the lasts for two weeks to dry thoroughly to shape before the soles and heels are attached. Counters (stiffeners) are added to the backs of the shoes.
Leather for the soles is soaked in water O so that it is pliable . The sole is then cut, placed on a lapstone, and pounded with a mallet . As the name suggests, the lapstone is held flat in the shoemaker's lap so he can pound the sole into a smooth shape, cut a groove into the edge of the sole to indent the stitching, and mark holes to punch through the sole for stitching. The sole is glued to the bottom of the upper so it is properly placed for sewing . The upper and the sole are stitched together using a double-stitch method in which the shoemaker weaves two needles through the same hole but with the thread going in opposite directions.
Heels are attached to the sole by nails; depending on the style, the heels may be constructed of several layers. If it is covered with leather or cloth, the covering is glued or stitched onto the heel before it is attached to the shoe. The sole is trimmed and the tacks are removed so the shoe can be taken off the last. The outside of the shoe is stained or polished, and any fine linings are attached inside the shoe.
Machine-made high heels
The design developed by the master shoemaker and designer can be mass-produced from the components committed to fiberboard masters or from computerized data. If metal dies are used to cut the pieces, leather (or other material) is fed into a 20-ton (18-metric-ton) press that has been equipped with one or more dies, and the pieces are punched out. The process is even more simplified when a computer-controlled laser beam is used to cut the pieces out.
When all the components are cut out, the material is drawn into a machine equipped with a number of lasts. The machine pulls the piece of material tightly over the last, and thermal cement is used to hold it together temporarily. Before synthetic adhesives were widely available, tacks were used exclusively. Now, only a few tacks may be needed along with the adhesives. High heels are made in three separate sections—the sole, the upper, and the heel. When the components have been assembled or stitched by computer-controlled machines into each of these three sections, the sections are conveyed to another machine for assembly. Strong cement is used to bond them together, and they may be put in a press for approximately 15 seconds to press the cemented pieces firmly.
The heel itself may be attached to the shank of the shoe using nails, screw nails, tacks, cement, staples, or sets of molded prongs (or some combination), depending on the style of the shoe, the height of the heel, the materials used in construction, and other factors including cost. Nine out of 10 heels are made of plastic and covered with material to match or compliment the shoe uppers. Plastic is used because it is light-weight and inexpensive.
After the sections are bonded to make the finished shoe, labels and stamped size notations are added to the insides of the shoes. The completed pair of heels is stuffed and wrapped with tissue paper and put in an appropriately labeled box. Cartons of boxes of the same style of shoe are packaged and prepared for shipment to the retailer.
Quality Control
Although the mass-production of high heels is now done largely by machine, quality control personnel oversee all aspects of design and production. Materials are carefully inspected when they are received so that imperfect leathers, badly dyed fabrics, and other faulty items can be returned to suppliers immediately. Components that may be made by outside suppliers, such as wooden heels, are also inspected and accepted or rejected. During an initial production trial, the sections cut and assembled by computer are compared to design details and examined for flaws. When production is approved, quality control engineers also monitor all facets of production and spot-check components and completed sections and shoes. Testing laboratories are also used to evaluate the quality of materials before they are incorporated in the construction of shoes and for testing the durability of finished models in the prototype stage. Depending on the style, finished shoes may be polished or treated, and these steps are also carefully inspected. Boxed shoes may be opened and randomly checked before shipment.
Byproducts/Waste
The use of computer-aided design and precise machines such as lasers has greatly limited the waste from shoe production. The waste that does result must be disposed and may contain synthetic adhesives and other materials that prevent recycling . Plastic waste can be remolded.
Byproducts usually do not result from the manufacture of high heels, but makers often market matching products like handbags. By fitting pieces from several types and sizes of product onto a single piece of leather, for example, waste is further reduced.
The Future
Although high heels may be considered a modern fashion statement, their history proves that they have existed for centuries and will continue to do so. Wearers have followed King Louis XIV s example and have seen that heels can enhance height and flatter appearance. The heights and styles may change from season to season, but the high heel in some form is sure to be part of fashion's future.
Coco Chanel
People know that Chanel is one of the TOP fashion power houses in the world. However, what people don't know is the woman who started it all. Read this and find out about who she is and how she changed the world of fashion!
Gabrielle Bonheur "Coco" Chanel ( August 19 , 1883 – January 10 , 1971 ) was a pioneering French fashion designer whose modernist philosophy, menswear-inspired fashions, and pursuit of expensive simplicity made her arguably the most important figure in the history of 20th-century fashion . Her influence on haute couture was such that she was the only person in the field to be named on TIME Magazine's 100 most influential people of the 20th century .
The Chanel Empire:
Gabrielle "Coco" Chanel's stylish, elegant designs revolutionized fashion during the 1910s, freeing women from the uncomfortable and stiff apparel worn at the end of the 19th century. Chanel furthered her own image: the woman of the 20th century, embodying independence, success, personality, style, and confidence.
The influential Chanel suit, launched in 1924, was an elegant outfit composed of a knee-length skirt paired with a trim, boxy jacket, traditionally made of woven wool with black trim and gold buttons and worn with large costume-pearl necklaces.
Chanel also popularized the little black dress , whose blank-slate versatility allowed it to be worn for both day and night.
The black Chanel dress was strapless, backless and more than a little risque. It shocked the general public at large but quickly became a fashion sensation. The Chanel dress premiered in the third ever edition of Playboy. This added to the controversy surrounding the Chanel.
Much imitated over the years, Chanel's designs were manufactured across more price categories than any other in the high-fashion world.
It was Chanel who also introduced 'costume' jewellery to the world of fashion, using a variety of accessories such as necklaces, chains or pearls of several strands. A bag with golden handles, an elegant pearl necklace, a tailleur dressed in black are the symbols of elegance and status that marked forever the history of fashion.
But it was Chanel No. 5 - considered the number-one selling perfume in the world - which helped her become a millionaire. The perfume was created in 1921 by Ernest Beaux at the request of Chanel, who said about the perfume that it was "a woman's perfume with the scent of woman." Its Art Deco bottle was incorporated into the permanent collection at the Museum of Modern Art in New York in 1959. Chanel No. 5 was the first synthetic perfume to take the name of a designer. One of Coco Chanel's most famous quotes is, "This perfume is not just beautiful and fragrant. It contains my blood and sweat and a million broken dreams."
All of her clothes were emblazoned with the famous Chanel symbol; this, however, was not of her own design. The symbol was given to her by the owner of the Chateau de Cremat (a Chateau on the outskirts of Nice in the south of France).
In 1923, she told Harper's Bazaar that "simplicity is the keynote of all true elegance." Chanel always kept the clothing she designed simple and comfortable and revealing. She took what were considered poor fabrics like jersey and upgraded them.
She was instrumental in helping to design the image of the 1920's flapper (The term flapper in the 1920s referred to a "new breed" of young women who wore short skirts, bobbed their hair, listened to new Jazz music, and flaunted their disdain for what was then considered acceptable behavior.
The flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles,showing a lot of skin, and otherwise flouting conventional social and sexual norms).
The German designer Karl Lagerfeld is, since 1983, the art director of Chanel, both for the haute couture and prêt-à-porter
Later Years:
In 1939, at the beginning of the Second War, the designer decided to close her shops. She believed that it was not a time for fashion. She took up residence in the Hôtel Ritz Paris and for more than 30 years, Gabrielle Chanel made this hotel her home, even during the Nazi occupation of Paris. During that time she was criticized for having an affair with Hans Gunther von Dincklage, a German officer and spy who arranged for her to remain in the hotel.She also maintained an apartment above her Rue Cambon couture house and built Villa La Pausa in the town of Roquebrune on the French Riviera . In 1945 , she moved to Switzerland , eventually returning to Paris in 1954 , the year in which she also returned to the world of fashion.
Her new collection did not have much success with the Parisians, as a result of her relationship with the Nazi spy. However, it was much applauded by the Americans, who had become her most popular buyers.
Coco Chanel died in Paris on January 10 , 1971 , 87 years old, in her private suite at the Hotel Ritz, and she was buried in Switzerland. Her tombstone is carved with stone lion heads representing her birth sign, Leo
Marilyn Monroe Fun Facts!
Marilyn Monroe was not only a fashion icon but also a famous actress whos legendary work still lives on today. I found some fun facts about Marilyn on marilynmonroe.com!
FUN FACTS!
Birth Name: Norma Jeane MortensonAlso Known As: Norma Jeane Baker
Birth date: June 1, 1926 Birth place: Los Angeles, CADeath date: August 5, 1962
Death place: Brentwood, CABurial location: Corridor of Memories, #24, at Westwood Memorial Park in Los Angeles, CA
Height: 5 feet 5 1/2 inchesWeight: Varied, 115 - 120 lbs.
Measurements: 37-23-36 (Studio's Claim); 35-22-35 (Dressmaker's Claim)
Hair color: BlondEyes: BlueHigh schools: Van Nuys High School; University High School
Occupations: Model, Actress, SingerMother: Gladys Baker
Half-brother: Hermitt Jack Baker Half-sister: Berniece
MiracleMarriages: Jimmy Dougherty (1942-1946); Joe DiMaggio (1954); Arthur Miller (1956-1961)
Stepchildren: Joe DiMaggio, Jr., Jane and Robert MillerDid you know?
In 1999, Marilyn was named the Number One Sex Star of the 20th Century by Playboy magazine
In 1999, Marilyn was voted the 'Sexiest Woman of the Century' by People Magazine.
Issued on June 1, 1995, Marilyn was featured on a 32¢ US commemorative postage stamp.
Elton John recorded the song "Candle in the Wind" as a tribute to Marilyn Monroe.
In December 1953, she was the Playboy "Sweetheart" of the Month.
In February 1953, Marilyn was named the “The Most Advertised Girl in the World” by the Advertising Association of the West.
She was crowned Miss California Artichoke Queen in 1947.
In 1946, she began using the stage name Marilyn Monroe, but did not legally change her name until February 23, 1956.
Marilyn Monroe married Joe DiMaggio in San Francisco City Hall.
Marilyn Monroe was nominated for the 1956 British Academy Award for "Best Foreign Actress" in the Seven Year Itch.
AND HERE ARE SOME OF HER QUOTES!
"I knew I belonged to the public and to the world, not because I was talented or even beautiful, but because I had never belonged to anything or anyone else."
"There was my name up in lights. I said, 'God, somebody's made a mistake.' But there it was, in lights. And I sat there and said, 'Remember, you're not a star.' Yet there it was up in lights."
"I'm going to be a great movie star some day."
CAREER HIGHLIGHTS!
Playboy "Sweetheart" of the Month (December 1953)
Started own production company, Marilyn Monroe Productions (1955)
Awards:Golden Globe for "Female World Film Favorite 1954"
Nomination for Best Foreign Actress, 1956
British Academy Awards ("The Seven Year Itch") Nomination for Best Foreign Actress, 1958 British Academy Awards ("The Prince and the Showgirl")
David Di Donatello Prize for Best Foreign Actress ("The Prince and the Showgirl," 1959)
Crystal Star Award for Best Foreign Actress ("The Prince and the Showgirl," 1959) Golden Globe for Best Actress in a Comedy ("Some Like It Hot," 1960)
Golden Globe for "Female World Film Favorite 1961"
Rankings:Chosen by Empire Magazine as one of the "100
Sexiest Stars in Film History" (1995)
Voted Empire (UK) Magazine's "Sexiest Female Movie Star of all Time" (1995)
Ranked #8 in Empire (UK) Magazine's "The Top 100 Movie Stars of All Time" (1997)
Named the Number One Sex Star of the 20th century by Playboy magazine (1999) Voted "Sexiest Woman of the Century" by People Magazine (1999)
Voted 4th Greatest Movie Star of all time by Entertainment Weekly
Voted 2nd Greatest Movie Star of all time by Premiere Magazine Ranked #6 on the American Film Institute's "50 Greatest Screen Legends" list
The Style Of Audrey Hepburn
Audrey Hepburn was and still is a fashion icon! Here are some tips I found on essortment.com on how to steal her style!
This Brussels-born beauty is one of the biggest style icons of our time. Perhaps it was the elegance and wit she possessed, or that little black dress and white gloves in “Breakfast at Tiffany’s” she made every women want to have, or quite possibly a combination of both.
The Little Black Dress
Audrey Hepburn was the little black dress, as she made it famous on the big screen. Women from all over the world use this little closet staple for gala’s, black tie events, weddings and more, paying homage to Audrey’s unique sense of style. Simplicity is the key for this look. Put bold jewelry with it, and you can’t go wrong.
Capri Pants
She made them famous in movies like Sabrina and Funny Face and today women still find them as a wardrobe staple. Whatever color you choose, you’ll look oh-so Audrey.
Ballet Flats
She loved ballet flats and wore them with everything – dresses, pants, Capri pants , etc. Do the same and you’ll find that being chic and simple is easier than ever.
Button-down Men’s Shirts
She pulled this look off beautifully. Audrey Hepburn loved feminine clothes; however, she knew how to pull off the men’s inspired look flawlessly as well. After her movie Roman Holiday (which catapulted her to fame), women everywhere were copying her short haircut, full skirts, cinched waists and men’s inspired button-down shirts.
Turtlenecks, Trench Coats and perfect Handbags
Audrey Hepburn knew how to take the simplest silhouettes and make them unique and special, as well as striking.
Her main fashion designer was Hubert Givenchy, who designed her wardrobe for films such as Funny Face (1957), Love in the Afternoon (1957), Breakfast at Tiffany's (1961), Paris When It Sizzles (1963), Charade (1964), How to Steal a Million (1966), and others.
Men Wearing Makeup!
I found this really interesting artical on overallbeauty.com about men wearing makeup! hhhmm for some reason I can't see my brothers wearing it but hey whatever floats you boat!
Because we live in such a youth oriented world in which how young and attractive you look, male or female influences just what you get out of life romantically and socially. Its not surprising that men are starting to adventure into the woman’s world of makeup. Did you know that in the 50’s great icons of the time wore mascara? Elvis,James Dean, Marlon Brando just to name a few. They knew that to stay out in the crowd they had to do something difference, each had their own style that including wearing some makeup at all times.The number one problem men come up against if they decide to wear makeup is it might bring them across as “gay” or “vain”. Wearing or not wearing makeup has nothing to do with their sexual choices but it seem that looking all natural is better. Or is it?Number two problem he might come up against is where to buy makeup that has been created for men not just using what we as women might use. He might not feel comfortable walking into a department store to buy mascara. Besides how is he going to know which one isbest?When asked, the number one product men ask about is concealer. Just because you might not think he cares about how he looks in truth hedoes. He stares at his skin issues as much as a woman does, he just thinks that asking for your help makes him seem less than a man. How far from it but its ingrain in all of us that men just don’t wear makeup.Good grooming is such an essential these days, so its not surprising that a man with skin issues may want to cover up it up. Problems such as blemishes, under-eye areas, razor nicks, sunspots, redness or possible discoloration from acne scaring. Are these not the some of the same reasons why women use concealer? In our youth obsessed world, it’s not really surprising that there are now major companies that have created cosmetics for men. You can find a few online today Studio5ive.com, Kenmen.net and Menskincare.com just to name a few. Overseas doesn’t have such issues of men wearing makeup as we do here in the United States. When talking about men wearing makeup we are not talking about the fullface anything goes that you find on rock stars, we are talking about ways of enhancing his look without over doing it. Wearing mascara that just tints the lashes to enhance is already amazing eyes making him stand out more in the crowd may not be such a bad thing.If he is going to wear makeup its going to be makeup on his terms not yours. With the number of product for men being concealer there are other products he might be interested in as well. For example a tinted moisturizer that does two things, moisturizing the face as well as adding a little color as to give that natural glow of youth.Once we get over the fact that men wearing makeup isn’t changing him into something he is not, there is not reason why you should fault him for doing so. Wearing makeup doesn’t make a man "vain" or "gay" or anything more that what he is. Besides who wants to be kissed by chapped lips?
Does him wearing lip balm making him any less than a man? No, not at all, it his way of showing he knows that to kiss you he needs to have kissable lips, do we not do the same thing?Because of such pressure that is being putting on men to staying younger looking, we have men’s skincare on the rise, grooming tools, dyes for grey hair, it’s not surprising at all that men are adventuring into wearing cosmetics as well. With more men finding that visiting spas are amazing, having a facial that’s helps with acne adding concealer to cover up is just a natural choice.Men are men no matter what, and wearing a little makeup isn’t going to change that fact, so get over it and let him be a little adventuresome. You never know, you might like going out with someone who cares enough to take care of himself, and that means wearing a little makeup so be it.
Does Your Skin Naturally Glow?
My skin has a life of its own..sometimes it is perfectly clear adn sometimes I have a pizza face! However by following htese steps I found on overallbeauty.com, I now can have beautiful clear skin!
The most beautiful, head-turning heart stopping women in this world today all have one thing in common: gorgeous, radiant skin. When your skin is healthy and vibrant, its like a light switch has been turn on inside of you, and the world is drawn to that light. You don’t need to be a celebrity to make a statement with your skin. Even if you feel your complexion is beyond repair, all you need is a few simple strategies to follow that will help get your skin back to being picture ready. Be it in time for the wedding of the year, photographers or the paparazzi ~ Your skin can be saved!
First off, what do you do at night before you lay down to sleep? Do you start off removing your makeup of the day? Do you wash your face with a natural cleanser, or facial scrub and then moisturize? No? Well this is something you need to start doing to help your face help itself. At night while you are sleep your skin is hard at work fixing things, growing new cells, getting rid of the old, and by not removing your makeup it could be slogging up your pores causing your skin to break out. They say your face does it best work, in helping NOT get fine-lines and wrinkles but renewing your skin cells and pushing out the old. If you have makeup on, well that is just something to block your skin’s way of helping you look better. Have you ever noticed that you look your best after at least 6 hours sleep? This is why, your skin cells have been busy and now your skin shows. At night before going to bed, remove all makeup, use a gentle natural cleanser and or facial scrub and get your sleep!
Rule number 1: Healthy mind ~ Healthy body ~ meaning getting enough exercise, eating right and drinking water. Getting enough sleep all adds up to beautiful skin. Simple huh?
Rule number 2: Never give up on your skin and your appearance!! It doesn’t matter how old you are, how heavy or thin your might be. There is always something you can do to help yourself improve the way your skin looks and feel. You just need to take the time to take care of number 1 ~ That means you
Hormone changes through out our life’s can and will have a cause and affect on our skin. At adolescence, the effect is nearly always to produce excess oils. It just seems so unfair that just as you are starting to be attracted to the opposite sex, you are very often suffering from oily skin, blackheads, blemishes or the biggest problem ever, Acne! How do you care for your skin while it seems like all hell as broken free all over your face and you have a date? Start early with your skincare routine. Start washing your face every morning and before going to bed to help keep that oil at bay. If you have really oily skin you may have to wash your face more than twice a day BUT don’t wash it more than three times a day because your face will react but you got it creating even more oil! If you do have acne or just want to know the best way to take care of your face, visit your Dermatologist, she will be able to help set up the best skincare routine.
Also don’t worry, as we get older most of us more on to having clear skin and no matter what you felt all those times when you felt you had the biggest blemish ever and everyone was staring at it, sorry but they were not, they were too busy thinking the same about their own blemish.
The best idea for carrying for your skin is to start early in your teens, build your own skincare routine and stick to it. If cheap products work best then don’t buy others, if your face breaks out at the thought of anything that isn’t natural made then don’t try anything new. Stick with what works for your face and you too will glow!
How To Pick A Nail Polish Color For Black Dress Or Any Color Dress!
Hi Ladies!
I found this on overallbeauty.com! Having troubling picking a hot nail polish color?? READ THIS!!
When it comes time to wear a dress, it usually means we are off to some formal occasion, got our selfs a hot date or whatever. You have this amazing dress, but your nails are bare looking. Do you match your lipstick and your nail polish on your fingernails and toes or what? Years ago when woman wore dresses all the time, the thing to do was match your eye shadow, lipstick and nail polish if they wore any. Nail polish once thought of as someone “those other women wore” nothing a good upstanding woman would ever think of wearing. Thank goodness that has changed! Today there are so many colors of nail polish that it can be a bit unnerving trying to decide what goes with what or if you should wear one color for everything.
Do you plan what you are going to wear? Most of us with a hot date start planning what to wear from the minute he asked me out. Depending on the guy depends on what I am going to be wearing. First dates are always the hardest to plan what to wear. If you are going to be wearing jeans then any color of nail polish will work. Now if you are going to be wearing a dress for him on your first date then you really need to plan the whole look you want him to see you as.
If you are wearing a black dress, with your eyes done up smoky, then you will probably want to wear a dark color nail polish. If you did your eyes smoky in colors other than black and brown, say plum instead then you might want to wear a color such as deep burgundy or burnt brown to off set the colors you are wearing.
Now for all you pink nail polish wearers, when it comes to dressing up, you should wear a darker pink polish . It will make you look a littler classer and thats one of the reasons we wear a dress to something now. With most of us not even getting out of our jeans for dates, wearing a dress is like playing grown up, and who wants to do that?
What ever you do , don’t do the whole matching thing, if you are wearing deep rich red polish on your nails, do wear it on your toes because you look more put together but don’t match your lipstick to it! Besides if you are wearing smoky eyes you know that your lips much be almost bare in color to make sure that your eyes is all he sees.
Take care of your nails because nothing looks worst than you got this amazing dress on, brand new pair of open toe shoes you been just dying to wear and your nail polish on your fingernails and toes is chipped. OH NO redo your nail polish on your fingernails and toes because you do not have a finished look, and look like someone he wants to know.
Shaving!
Now that it is summer-it is time to shave thoes hairy winter legs! I went on ehow to find out how to have the best close shave for silky smooth skin!
Things You’ll Need:
Women's Shaving Creams
Step1Shave in a warm shower or bath , if possible.
Step2Wait a few minutes before starting to let the leg hair soften. If you take only showers, wait until the end of the shower to shave.
Step3Sit on the ledge in your shower, if possible. If your shower has no place to sit, raise one leg against the wall of the shower and balance carefully.
Step4Apply a small amount of shaving cream, rubbing it into a thick lather and spreading it over your leg. Avoid using soap in place of shaving cream, as it will dry out your skin.
Step5Place the razor at the base of your ankle and pull gently up over your entire leg. If you experience severe razor burn, try shaving in the same direction as the hair growth . You may not get as clean a shave, but you'll avoid raising red bumps.
Step6Rinse the blade between every stroke, and be sure to keep the razor wet while you're shaving.
Step7Shave the entire leg until you've removed all the shaving cream.
Step8Rinse.
Step9Repeat for the other leg.
Step10Pat dry and moisturize.
How To Shape Your Brows!
Brows are VERY important for your face! The perfect brow can pull your whole face together! I found how to have the perfect brows on ehow.com! Heres How:
Instructions
Tweezerman Stainless Steel Spa Point Tweezers
Tweezerman Facial Hair Scissors
Brow brush or toothbrush
Clear mascara or hair gel
Step1 First thing, pluck all stray hairs that are bugging you. I’ve read in magazines that you’re only supposed to pluck beneath your brows, but they’ve never seen my brows. I get strays coming in a good half inch above my brows trying to migrate toward my hairline. So in general, clean up the perimeter.
Step2 Trim your brows. Take a brow brush or a toothbrush and brush your brows straight up and trim the very ends. Then brush brows straight down and trim again. You’re not wanting to take too much off; just neaten things up a bit.
Step3 Shape your brows by plucking. The general rule is to hold a pencil vertically even with your nostril, and that’s where you brows should start. Then, hold the pencil against your nose diagonally in front of your pupil, and where the pencil crosses your brow should be where the arch starts. Pluck sparingly …just a few hairs during each session. Wait at least few hours and evaluate the shape before resuming the pluck-fest. Again, the goal is to neaten the brows, not to dramatically alter their shape or even thickness.
Step4Maintain brow shape by plucking new growth daily. My new growth starts as a black dot and is quite noticeable. The best tweezers for getting at those dots is Tweezerman’s stainless steel tweezers with a spa point tip. They’re also great for getting out ingrown hairs and splinters and fixing pulls on sweaters (you just grasp the pulled string or yarn and poke it through to the back side).
Step5 Once trimmed and shaped to your liking, brush upward with a clear mascara or hair gel . Apply a little beige shadow to highlight beneath the arch.
Tips & Warnings
Be good to your brows!
Plucking can be addictive. Don't ask me why.
Avoid an electric trimmer; it's too easy to go too short!
The Smoky Eye Step
I have always wanted to know to apply my eyeshadow to get the "smoky eye" look. I found this on beauty.about.com. They gave really great and easy tips on how to achieve the look. Check it out and do it yourself!!
Smoky eyes have been a big style for quite awhile and there's no sign this particular trend is dying. Here we show you step-by-step instructions on how to get the perfect smoky eye.The key to the perfect smoky eye is proper blending. You want to make sure colors are blended together flawlessly. Also, it's important to pair light base colors with rich dark colors. Nice mixes include: Soft gold base with deep purple on top, champagne base with bright blue and peach base with green hue.
Difficulty: Easy
Time Required: 5 minutes
Here's How:
1) Prep the lid. The key to keeping eyeshadow from melting into your eyelid crease as the day goes on is to kept eyelids oil-free. To do this start with an eyeshadow base (also called "primer"). I prefer to dab at bit of MAC's 'paint' on lids before shadow application. Or try Fresh Freshface Perfecting Eye Primer .
2) Apply eyeliner. If you're going for a typical black, brown or gray smoky eye, apply liner in one of those colors above the upper lash line, drawing line thicker in the middle of eye. If your opting for a jewel-toned eye (violet makes a gorgeous smoky eye), line eyes with a purple, blue or deep green liner.
Blend in color on bottom lashes For color on the bottom (a key smoky eye look) you'll want a lighter eyeliner. The key is to "smudge it." You can also apply a bit of shadow to get full smudge effect.
3) Apply light base color Again, the key to a smoky eye is pairing a lighter base with the darker hue. I prefer a nice cream shade for my base. Sweep a light, shimmery shadow over the lids to your browbone. I love Stila's whipped eye shadows $20 . The moist "mousse" consistency seems to stay on forever. My favorite colors are taupe and pearl.
Blend in darker color, but keep dark color below the crease. Now that you have the base and eyeliner on, it's time to get the smoky effect. You need a darker eyeshadow shade. Using an eyeshadow brush blend in color starting at your lash line, blending up. Make sure to blend color into the lash line so the eye liner disappears. Stop deep color at crease.
4) Doublecheck your work Make sure eyes match and blend color with a Q-tip if need be.
5) Finish with several coats of volumizing mascara. Tried and true mascaras (featured in "Elle" magazine's March 2006 issue) include DiorShow Mascara & L'Oreal Paris Volume Shocking Mascara . Elle's writer says they are the best volumizers she's tried.
Tips:
-Remember to keep lips nude. When applying strong makeup (like smoky eyes or red lips) put the focus on either eyes or lips, never both. (Think Angelina Jolie: She either plays up her huge eyes or her huge lips, never both. If she did, she'd look like a clown).
For a bit of fun, try a blue or purple mascara. It will make blue eyes "pop."
-Liner doesn't have to come in pencil form. Makeup experts know eyeshadows make some of the best eyeliners. To do this take an eyeliner brush (available at Sephora, MAC or any dept store), wet it, then dab wet brush into the dark shadow. This allows for a deep, precise line. You can also use the dark shadows without wetting brush first. Either way, eyeliner is necessary for smoky eye.
This season go jewel-toned (blue is great for you blue-eyed girls) and keep your eyes smoky but stay away from dark browns and black. Instead, go for a deep purple, a gold-brown or any of the many vibrant colors in this year.
What You Need:
Eye primer (you don't need it, but it's great for keeping shadow in place)
2 Shadows: One light, one darker
Eyeliner
Mascara
Tips On Painting Your Nails!
If you aren't quite satisfied with your current state of at-home manicures, there is certainly help out there and some basic tips on mistakes to avoid. These are the big five:
1. Filing your nails in the wrong direction. If you saw back and forth with your emery board and go too deep into the corners this can have the unwelcome effect of splitting and weakening your nails. Hold a fine emery board at a slight angle to the nail, file from left corner to center for just a few strokes, and then from the right corner to the center. After you are done, use a fine metal file for completion
2. Don't neglect your cuticles. Rough, jagged cuticles can promote painful hangnails. Brush your cuticles with a rich oil after your morning shower and before you head off to sleep. Have the oil soak in for a minute, then rub into the cuticle. Oil is comparatively better than hand cream when it comes to absorption.
3. When cutting cuticles, avoid nipping away at your cuticles. This invites the risk of infection. (Your cuticles act as a barrier against bacteria). The fix: in the shower, gently push back cuticles with a washcloth. (Steamy water helps to soften them).
4. Don't skip the base coat!! Polish on bare nails can dry out the nail plate. Also staining can be a problem. Try a moisturizing base on clean nails and the apply polish.
5. Don't leave polish on for too long. If you do, it will dry your nail leaving it brittle. Once polish begins to chip it can peel a superficial layer of nail too. You should remove polish after 5 days; wash hands to rinse away remover, which can also be drying.
Have FUN with your nails and use wild and bright colors that will grab peoples attention!
Make-Up Tips!
I found this on www.ehow.com . A girl can't look her best without makeup! So here are some tips on how to do your own makeup!
Things You’ll Need:
Lip Gloss
Eye Shadow
Step1-Apply a concealer that is one shade lighter than your foundation. Dot it on over any blemishes or under-eye circles and blend with your fingertips or a makeup sponge. If your concealer tends to cake, apply eye cream first.
Step2-Choose foundation that matches your skin tone exactly. Apply it in dots over the central part of your face, then blend it out with a makeup sponge or your fingertips until it covers your entire face (see Related eHows).
Step3-Use a loose or pressed powder to keep foundation and concealer on longer. Use pressed powder to touch up when you're away from home.
Step4-Do your eyebrows next. Use powdered eyebrow shadow on brows instead of pencil, which can often look unnatural. Apply it with a hard, slanted brush.
Step5-Choose three colors of eye shadow: light, medium and dark. Use the dark only to line your upper eyelid, in a fairly thin line along the upper lashes. Use the medium shade for the crease and the lightest shade for the area under the eyebrow. There are many variations on eye shadow application techniques (see Related eHows).
Step6-Apply eyeliner. Use a cake eyeliner with a damp, thin liner brush, or an eyeliner pencil, and line the lower lid below the lashes. Line only the outer two-thirds of the lower lid, or all the way across if you're trying to achieve a darker look. Line all the way across the upper lid (just above the lash line and as close to the lashes as possible), or start the line where your lashes begin.
Step7-Apply mascara to upper and lower lashes, in two thin coats to avoid clumpiness. Choose brown mascara if your coloring is fair; black or brown-black works well for darker coloring. Or try a colored mascara such as navy or plum for fun, but don't go too bright if you want to be taken seriously.
Step8-Smile to find the apples of your cheeks, and apply blush to the apples or below, whichever you prefer. If you have to blend in blush, it's too bright.
Step9-Choose a lipstick color that's suited to your skin tone and that's perfect for your day look. You can mix colors and textures to suit your moods and your outfits (see Related eHows).
Step10-Line lips after applying lipstick, not before. That way you won't end up with a dark circle of lip liner after your lipstick has worn off. Avoid combining very dark lip liner and pale lipstick.
Tips & Warnings!
*Follow the steps in the order given, and remember to clean and moisturize your face before applying makeup.
*Choose brighter or darker tones for a stronger look.
*Clean makeup brushes by gently washing them in warm water and mild gel shampoo. Air-dry them overnight.
*Don't skimp on makeup tools. High-quality tools make application easier and faster.
*If you decide to curl your eyelashes, do this just before applying mascara, never after. Insert your eyelashes into the curler, squeeze just once, and hold for a few seconds.
*Bacteria can grow in older cosmetics, which can lead to infections. Be on the safe side: Toss anything that's seems old, especially mascara, and avoid sharing products with others.
Fashion Icons From The 1920's And 1930's
In the 1920s and 1930s American fashion began to assert itself and soon gained world recognition. Hollywood was instrumental in providing the world with the latest looks for concepts of dressing with feminine allure and glamour. Women demanded the same exciting new fashions and beauty tricks and products as the film icons and stars wore and so costumers and beauty experts became important in their own right.
Louise Brooks 1920s Fashion Icon
Louise Brooks is one the most famous fashion icons of the 20th century and of the 1920s. You may not know her name, but you will know her face. Her distinctive black helmet like bob cut hair often worn with bangs or a fringe as we would call the curtain of hair today was her trademark. Louise Brooks was the famous flapper of her era. She was a model as well as an actress and frequently appeared in advertisements. Louise Brooks had short hair, a short skirt and wore make up. She bore no resemblance to anything vaguely Edwardian and embodied the spirit of the Jazz Age. The flapper era worshipped young people and Louise Brooks was the Madonna of her day with her signature image of the perfect flapper look.
Greta Garbo 1930s Fashion Icon
A complete contrast to Louise Brooks is Greta Garbo who was one of the most prominent and best loved stars of all the 1920s and 1930s icons. Many a costume history book touts her as an intriguing fashion icon of mystery and allure. Her softer look was total different to Louise Brooks, yet was full of femininity and captivation that sat happily alongside that of the flapper.
Greta Garbo was born in 1905 as Greta Lovisa Gustafsson in Stockholm. Born of impoverished parents she first went to work at age 14 in a barber's shop, but later became a model. Keen to act after featuring as a bathing beauty in a film Garbo studied acting from 1922 to 1924 at the Royal Dramatic Theatre, Stockholm.
Bette Davis: Who among us hasn’t heard the famous “She’s got Bette Davis Eyes”? Miss Bette Davis was born Ruth Elizabeth Davis on was born April 5, 1908 in Lowell, Massachusetts. The world mourned her passing on October 6, 1989 in France from cancer. When she first came on the scene, she was not viewed as a gorgeous glamorous star. Among a host of others, she actually stared in a movie entitled “Fashions of 1934” where she played “Lynn Mason” an assistant to a bootlegger selling Paris Fashions. It is said that her tombstone reads "She did it the hard way". She started a wave of starlets that were not classically beautiful but still had that “something about them” The fashion world is forever indebted to the woman with those “teasing” eyes.
Jean Harlow: “Her hair is Harlow gold” How can we talk about Miss Davis’s eyes without mentioning the other legend that is attributed to in the famous song? She began the trend of “Blonde Bombshells” that is still going strong in Hollywood today. Born Harlean Carpenter on March 3, 1911 in Kansas City, Missouri, she can be solely credited for starting the peroxide revolution with her platinum blonde locks. She was the first actress to appear on the cover of Life Magazine an though she passed away on June 7, 1937 at the young age of 26, there are over 35 movies that you can watch after you “Slip into something more comfortable”
Vivien Leigh: “Scarlett was not beautiful but men seldom realized it when caught by her charm…” at least according to the book. On screen the great Miss O’Hara shined in looks as well as charm. Vivien Leigh ended the decade regally with her piercing eyes and that arched eyebrow that models still continue to try and emulate today. Born Vivian Mary Hartley on November 5th 1913, she passed away died July 7th 1967 a still much beloved actress. Her icon status will forever be safe. Even in old drapes; no one could deny her exotic beauty. This may be where the phrase “It’s not the clothes that you wear, It’s how you wear the clothes” came from.
Josephine Baker: Born, Freda Josephine McDonald in St. Louis, Missouri, on June 3, 1906, Josephine Baker gainined fame throughout Europe during the 1920’s but wasn’t received well in the United States, even after two acclaimed movies in 1930’s, because of her dark skin color. During World War II, she performed for the troops, and smuggled secret messages written on her music sheets for the French Resistance in addition to being a sub-lieutenant in the Women's Auxiliary Air Force. This seemed to renew her strength and during the 1950’s and 1960’s she returned to the United States with a vengeance to help the fight against racism. She made such an impact that the “The National Association for the Advancement of Colored People” (NAACP) observes May 20 as “Josephine Baker Day”. She passed away on April 12th, 1975. Her exotic beauty, and sensational clothing style made her an icon in the world of fashion but her heart and determination made her a legend to all.
All these women are known for their talents and sense of style that helped the world of fashion grow and prosper!
1950-60 Hairstyles
I found this on www.Fashion-era.com ! I also LOVE everything about the 1920's to the 1960's. The hair, glamour and the clothes was soooo cool! Check this out about the hairstyles of the 1950-60's...its really interesting and fun to read!
Throughout the early 50s the ponytail was a popular youthful hairstyle and it matured into the French pleat. Fashionable hairstyles began with simple ponytails and ended the decade with complex beehive arrangements. Popular hairstyles in the 1950s and 60s were the poodle cut and the French pleat and later the beehive which began at the tail end of the 50s.
For the more sophisticated, a permanent wave in the styles favoured by Elizabeth Taylor and the young Queen Elizabeth II were universally worn. Their popular bubble cut hairstyles were easily copied with the advent of improved hair products, particularly home perms. Other stars that captured the look of the day were Leslie Caron, Audrey Hepburn, Sophia Loren, Brigitte Bardot and Doris Day.
Hairdressing was so big, that by 1955 almost 30,000 salons had sprung up in Britain. As products such as hair lacquer sprays and plastic rollers came into general use it was easily possible for ordinary women to create more and more complex hairstyles of height.
By the late 50s, outrageous backcombed bouffants, beehives, and French pleats led the way for the intricate coiled hairstyles of the 1960s. Women mostly bought their hair lacquer from their hairdresser and decanted it at home into nylon puffer spray bottles. By the end of the 50s, hair spray in cans, commercial shampoo, conditioner and rollers all became big business that boomed in the sixties.
Great Fashion Schools!
What Famous People Think Of Fashion
“I did not have three thousand pairs of shoes. I had one thousand and sixty.” Imelda Marcos
“A fashion is merely a form of ugliness so unbearable that we are compelled to alter it every six months.” Oscar Wilde
“All the American women had purple noses and gray lips and their faces were chalk white from terrible powder. I recognized that the United States could be my life's work.” Helena Rubinstein
“A designer is only as good as the star who wears her clothes.” Edith Head
“About half my designs are controlled fantasy, 15 percent are total madness and the rest are bread-and-butter designs.” Manolo Blahnik
“When in doubt, wear red.” Bill Blass
“I don't do fashion, I am fashion.” Coco Chanel
“They think him the best dressed man, whose dress is so fit for his use that you cannot notice or remember to describe it.”Ralph Waldo Emerson
“A good model can advance fashion by ten years.” Yves Saint Laurent
“I don't design clothes. I design dreams.” Ralph Lauren
“A woman's dress should be like a barbed- wire fence: serving its purpose without obstructing the view.” Sophia Loren
“Fashion is architecture. It is a matter of proportions.” Coco Chanel
“The goal I seek is to have people refine their style through my clothing without having them become victims of fashion.” Giorgio Armani
“Be not the first by whom the new are tried, nor yet the last to lay the old aside.” Alexander Pope
“I like fashion to go down to the street, but I can't accept that it should originate there.” Coco Chanel
“In difficult times fashion is always outrageous.” Elsa Schiaparelli
“Fashion anticipates, and elegance is a state of mind ... a mirror of the time in which we live, a translation of the future, and should never be static.” Oleg Cassini
“The novelties of one generation are only the resuscitated fashions of the generation before last.” George Bernard Shaw
“Fashion is more usually a gentle progression of revisited ideas.” Bruce Oldfield
“Fashion is the science of appearances, and it inspires one with the desire to seem rather than to be.” Edwin Hubbel
“I base my fashion sense on what doesn't itch.” Gilda Radner
“Chanel is composed of only a few elements, white camellias, quilted bags and Austrian doorman's jackets, pearls, chains, shoes with black toes. I use these elements like notes to play with.” Karl Lagerfeld
Art produces ugly things which frequently become beautiful with time. Fashion, on the other hand, produces beautiful things which always become ugly with time.” Jean Cocteau
“Fashion is what you adopt when you don't know who you are.” Quentin Crisp
“The dress must follow the body of a woman, not the body following the shape of the dress.” Hubert de Givenchy
“Fashion is something barbarous, for it produces innovation without reason and imitation without benefit.” George Santayana
“Today, fashion is really about sensuality—how a woman feels on the inside. In the '80s women used suits with exaggerated shoulders and waists to make a strong impression. Women are now more comfortable with themselves and their bodies—they no longer feel the need to hide behind their clothes.” Donna Karan
“Respect is love in plain clothes.” Frankie Byrne
“Problems are only opportunities in work clothes.” Henry J. Kaiser
“The lamb began to follow the wolf in sheep’s clothing.” Aesop
“Common sense is genius dressed in its working clothes.” Ralph Waldo Emerson
“She wears her clothes as if they were thrown on witha pitchfork. Jonathan Swift
“When his wife asked him to change clothes to meet the German Ambassador: If they want to see me, here I am. If they want to see my clothes, open my closet and show them my suits.” Albert Einstein
“Clothes don’t make a man, but clothes have got many a man a good job.” Herbert Harold Vreeland
“Only men who are not interested in women are interested in women's clothes. Men who like women never notice what they wear.” Anatole France
“Although golf was originally restricted to wealthy, overweight Protestants, today it's open to anybody who owns hideous clothing." Dave Barry
“While clothes may not make the woman, they certainly have a strong effect on her self-confidence — which, I believe, does make the woman." Mary Kay Ashe
“The dress is a vase which the body follows. My clothes are like modules in which bodies move.” Pierre Cardin
“I wear my sort of clothes to save me the trouble of deciding which clothes to wear.” Katharine Hepburn
“Clothes make the man. Naked people have little or no influence on society. Mark Twain
“The expression a woman wears on her face is more important than the clothes she wears on her back.” Dale Carnegie
What color lipstick would you NOT wear?
Welcome!!
Hello! I would like to welcome you to my blogging site. As you can probably see I am a fashion phanatic! By using my blogger page you can learn more about me and fashion. I will update my page daily to give styling tips and inform you on what is going on in the fashion world! Enjoy!
"A girl should be two things: classy and fabulous."
Coco Chanel
| Barbie |
The Newbery and Caldecott medals are awarded in what field of literature? | Ms Dolce
Ms Dolce
I am a fashion addict!!
Saturday, July 12, 2008
A Profile Of Fashion Designer Betsey Johnson
“Making clothes involves what I like…color, pattern, shape and movement…I like the everyday process…the people, the pressure, the surprise of seeing the work come alive walking and dancing around on strangers. Like red lipstick on the mouth, my products wake up and brighten and bring the wearer to life…drawing attention to her beauty and specialness…her moods and movements…her dreams and fantasies.” – Betsey Johnson
New York designer Betsey Johnson has built her long-standing career in fashion by following her own set of rules. Known for her celebration of the exuberant, the embellished, and the over the top, Betsey has been rocking the fashion industry with her unique and original designs since the 1960’s. Her commitment to remain true to her one-of-a-kind vision has afforded Betsey continued success in an industry known for its fickleness. Her ability to change with the times while keeping her designs pure has not gone unnoticed. At the 1999 CFDA Awards, Betsey was presented The Timeless Talent Award created especially for her, which recognized her influence on fashion throughout her career.
Betsey was born in Connecticut and spent her childhood in dance classes. Her aspirations to be a dancer and her love for costumes laid the foundation for Betsey’s creativity and inspiration, which is still evident in her designs today. In 1964, Betsey officially entered the New York fashion scene by winning Mademoiselle magazine’s “Guest Editor Contest.” One year later, she landed the top designer position for Paraphernalia, a clothing boutique that at the time housed the hottest young London designers, including Mary Quant and Paco Rabanne, among others. What would soon become known as Betsey’s trademark look began its formulations here: sexy silhouettes, hippie inspired flowing fabrics, whimsical detailing and, most importantly, a fabulous fit.
After a decade of designing for other labels, Betsey decided to make a dramatic change in her life and in 1978, she formed a partnership with Chantal Bacon and started the Betsey Johnson label, as it is known today. Designing for herself allowed Betsey the creative freedom to execute her vision to it’s fullest potential. The same year Betsey and Chantal launched their first retail store in the heart of Soho. In the early 80’s, they were one of the first to open a store on Melrose Avenue in Los Angeles, helping the street to gain its worldwide recognition as one of the best shopping areas of the 1980’s. Today there are over fifty Betsey Johnson stores worldwide. International expansion came in 1998 with the opening of the wildly popular London store. In 1999 the Vancouver store opened its doors and Toronto opened in early September 2003. In September 2006, the first Betsey Johnson store opened in Japan. Betsey Johnson clothing is also available in better department stores as well as in specialty stores throughout the country, and in Europe and Asia.
Biography
New York designer Betsey Johnson has built her long-standing career in fashion by following her own set of rules. Known for her celebration of the exuberant, the embellished, and the over the top, Betsey has been rocking the fashion industry with her unique and original designs since the 1960’s. Her commitment to remain true to her one-of-a-kind vision has afforded Betsey continued success in an industry known for its fickleness. Her ability to change with the times while keeping her designs pure has not gone unnoticed. At the 1999 CFDA Awards, Betsey was presented The Timeless Talent Award created especially for her, which recognized her influence on fashion throughout her career.
Betsey was born in Connecticut and spent her childhood in dance classes. Her aspirations to be a dancer and her love for costumes laid the foundation for Betsey’s creativity and inspiration, which is still evident in her designs today. In 1964, Betsey officially entered the New York fashion scene by winning Mademoiselle magazine’s “Guest Editor Contest.” One year later, she landed the top designer position for Paraphernalia, a clothing boutique that at the time housed the hottest young London designers, including Mary Quant and Paco Rabanne, among others. What would soon become known as Betsey’s trademark look began its formulations here: sexy silhouettes, hippie inspired flowing fabrics, whimsical detailing and, most importantly, a fabulous fit.
Now firmly part of what was considered the “Youth Quake,” Betsey soon found herself in the unforgettable 1960’s Warhol scene. Edie Sedgwick was her house model, while the Velvet Underground’s John Cale took to wearing her designs both on-stage and off. In 1969, Betsey began her foray into retail by opening a new boutique called Betsey Bunki Nini. Directly following the opening store Betsey was offered a job from Alvin Duskin in San Francisco and thus began living a bi-coastal life for the remaining years of the 60’s.
Along with the new decade came new career opportunities for Betsey and in the early 1970’s, she came into creative control of the label Alley Cat, a label which set the trends for the 70’s rock n’ roll clothing, with bohemian and ethnic styles. In 1972, along with Halston, Betsey won the coveted Coty Award becoming the youngest designer to ever receive the honor.
After a decade of designing for other labels, Betsey decided to make a dramatic change in her life and in 1978, she formed a partnership with Chantal Bacon and started the Betsey Johnson label, as it is known today. Designing for herself allowed Betsey the creative freedom to execute her vision to it’s fullest potential. The same year Betsey and Chantal launched their first retail store in the heart of Soho. In the early 80’s, they were one of the first to open a store on Melrose Avenue in Los Angeles, helping the street to gain its worldwide recognition as one of the best shopping areas of the 1980’s. Today there are over fifty Betsey Johnson stores worldwide. International expansion came in 1998 with the opening of the wildly popular London store. In 1999 the Vancouver store opened its doors and Toronto opened in early September 2003. In September 2006, the first Betsey Johnson store opened in Japan. Betsey Johnson clothing is also available in better department stores as well as in specialty stores throughout the country, and in Europe and Asia.
The year 2003 marked some exciting licensing endeavors for the company, taking Betsey’s signature prints and whimsy to new audiences with categories including shoes and lingerie. She continued this trend and has since added handbags, belts, cold weather accessories, eyewear, watches, jewelry, swimwear, legwear and a fragrance thus effectively emerging as not only a clothing designer but a top American Lifestyle brand.
In late 2002, Betsey was honored with an induction into the Fashion Walk of Fame, honoring her contribution to American fashion. A bronze and granite plaque containing an original sketch, signature and biography was embedded into Seventh Avenue sidewalk in early 2003. In March 2005, the Signature Awards and NAWBO-NYC committee honored Betsey with the 2005 Lifetime Achievement Award. And following that, Betsey received the Lifetime Achievement Award from the Accessories Council in November 2005. Betsey Johnson was recently honored with the Designer of the Year Award at the annual Fashion Accessories Benefit Ball (FABB) in May 2007.
In 2003, while on vacation in Mexico, Betsey bought a magical little hotel, which she named “Betseyville” and proceeded to turn it into a dream vacation home, where she regularly visits to work and get inspired. She fell so in love with the culture and surroundings that in 2004, Betsey purchased a second house in Mexico, this one dubbed “Villa Betsey.” Always loving a home project Betsey decided to turn Betseyville into an estate for rent to the public and chose Villa Betsey to become her main home in Mexico. Both homes abound with Betsey’s signature touches can be seen when “Betseyville” was exclusively featured in In Style Homes in April 2005 and on http://www.www.betseyville.com/ .
A survivor of breast cancer, Betsey continues to be a strong advocate in the fight against the disease, making public appearances, participating in numerous fund raising events and creating one-of-a-kind items that have been auctioned off to raise funds for various charities. In 2003, the CFDA asked her to be an Honorary Chairperson for the Fashion Targets Breast Cancer initiative, which she graciously accepted. In April of 2004, she was awarded another honor by the National Breast Cancer Coalition (NBCC) for her continuous fight against Breast Cancer at a prestigious ceremony hosted by Ron Perlman. In Spring of 04, she teamed up with Geralyn Lucas, the author of the book “Why I Wore Lipstick...to my Mastectomy,” designing an accompanying t-shirt which was launched in Betsey Johnson stores nationwide in October 2004 at a series of events called “Courage Nights.” Courage Night continued for its second year in October 2005 where CFDA Fashion Targets Breast Cancer and SELF Magazine joined the cause.
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Fun Romance Novelists To Read!
Eloisa James
Great Movies With Fantastic Fashion
Breakfest At Tiffanys
Celebriteis With Their Own Fashion Line
Alyssa Milano-Touch
Kimora Lee Simmons- Baby Phat
Mandy Moore-Mblem
Mary-Kate and Ashley Olsen- Mary-Kate and Ashley Brand
Nicky Hilton-Chick
Victoria Beckham- VB Rocks & DVB
Current Fashion Trendsetters
The Mike and Juliet Show
The Tyra Banks Show
Best Makeover and Fun Shows To Watch
10 Years Younger (TLC)
Rich Bride Poor Bride (WE)
Say Yes To The Dress (WE)
What Not To Wear (TLC)
Which Single And Young Bachelors Would You Date?
Are leggings making a comeback?
Favorite Stylists
Cristina Ehrlich and Estee Stanley
Jessica Pastor
Stacey London and Clinton Kelly (TLC What Not To Wear)
Blog Archive
newyork1
I am in LOVE with Fashion!!! Fashion is my passion!! One day I am going to rule the fashion industry!! Anna Wintour will wish she was me!! She better watch out because I am going to be the next editor and chief of Vogue!!
60's Fashion!!
What To Wear To A Wedding
Weddings are always fun. But sometimes one might not know what to wear. I went to fashion.about.com to find out what to wear to a wedding!
Wedding Guest Style for Her
Informal Daytime: Short dress or suit (business attire OK for morning weddings)
Informal Evening: Cocktail dress
Semi-Formal Daytime: Short dress or suit
Semi-formal Evening: Cocktail dress
Formal Daytime: Short dress or suit. Hats and gloves optional.
Formal Evening or Black-Tie: Long or dressy short cocktail (beading, glam accessories, wrap)
Ultra-formal or White Tie: Long gown, extra glitz (furs, diamonds, etc.)
Do's and Don'ts for Her
Don't wear white because it competes with the bride. There are plenty of other colors available.
Don't wear black or sequins during the daytime.
Don't worry about wearing the same colors as the bridesmaids or mothers. You can't possibly coordinate with everyone in the wedding party.
Do wear something feminine and appropriate, out of respect for your hosts. Clubwear, overtly sexy clothing (strapless, see-through, etc) doesn't belong at a wedding. If you have to ask if it's appropriate, it probably isn't.
Don't wear opera-length gloves (to top of arm) with anything but sleeveless or strapless gowns.
Do take off gloves to eat or drink.
Do use good judgment if the invitation doesn't specify the formality of the event. A pastel suit or soft floral dress for daytime or a little black dress for evening (after 6 p.m.) will take you almost anywhere.
Wedding Style for Him
Informal Daytime: Dress shirt and pants, preferably a sports jacket.
Informal Evening: Suit
Semi-Formal Evening: Dark suit
Formal Daytime: Dark suit and tie
Formal Evening: Tuxedo (if invitation states "black tie") or dark suits if women wear short dresses.
Ultra-formal Evening or White Tie: White tie, cummerbund, vest and shirt.
Do's and Don'ts for Him
Don't try to get cute with a tuxedo. A black tux with white shirt and black bow tie is the best way to go. If "Creative Black Tie" or "Texas Formal" or some sort of other vague formal description is used, then going with a tux and black shirt, no tie, might be acceptable. Also, trendier cities like Los Angeles and New York might be more accepting of breaking with tradition.
Do wear a dark suit, with a tie if the wedding is after 6 PM, and doesn't say "Black Tie."
Don't wear a tuxedo during the day time, regardless of the formality of the event.
Do use good judgment if the invitation doesn't specify the formality of the event. A dark suit and conservative tie will take you just about anywhere.
Labels or Love Lyrics!!
This song is AWESOME because its all about fashion...and love...download it now!!
Labels or Love by Fergie
Shopping for labels, shopping for love
Manolo and Louis, it's all I'm thinking of
Shopping for labels, shopping for love
1, 2
Manolo and Louis, it's all I'm thinking of
1, 2, 3 Turn the lights on.
I already know what my addiction is
I be looking for labels, I ain't looking for love
I shop for purses while love walks out the door
Don't cry, buy a bag and get over it
And, I'm not concerned with all the politics
It's a lot of men I know I could find another.
What I know is that I'm always happy when I walk out the store, store
I'm guessing Supercalifragi-sexy, nothing to be playing with I love him, hate him, kiss him, diss him, tryna to walk a mile in my kicks
[Chorus] Love's like a runway but which one do I love more? No emotional baggage, just big bags filled with Dior Love's like a runway, so what's all the fussing for? Let's stop chasing them boys and shop some more. 1, 2, 1, 2, 3, Turn the lights on.
I know I might come off as negative
I be looking for labels, I ain't looking for love
Relationships are often so hard to tame
A Prada dress has never broken my heart before
And, ballin's something that I'm fed up with I'mma do the damn thing, watch me do the damn thing
Cause I know that my credit card will help me put out the flames
I'm guessing Supercalifragi-sexy, nothing to be playing with
I love him, hate him, kiss him, diss him, tryna to walk a mile in my kicks
[Chorus] Love's like a runway but which one do I love more? No emotional baggage, just big bags filled with Dior Love's like a runway, so what's all the fussing for? Let's stop chasing them boys and shop some more. 1, 2, 1, 2, 3, Turn the lights on.
Gucci, Fendi, Prada purses, purchasing them finer things
Men they come a dime a dozen, just give me them diamond rings
I'm into a lot of bling, Cadillac, Chanel and Coach Fellas boast but they can't really handle my female approach
Buying things is hard to say Rocking Christian Audigier, Manolo, Polo, taking photos in my Cartier So we can't go all the way, I know you might hate it but I'm a shop for labels while them ladies lay and wait for love
[Chorus] Love's like a runway but which one do I love more? No emotional baggage, just big bags filled with Dior Love's like a runway, so what's all the fussing for? Let's stop chasing them boys and shop some more. 1, 2, 1, 2, 3, Turn the lights on.
Shopping for labels, shopping for love Manolo and Louis, it's all I'm thinking of Shopping for labels, shopping for love 1, 2 Manolo and Louis, it's all I'm thinking of 1, 2, 3
Turn the lights on.
Confessions Of A Shopaholic
I LOVE Confessions of a Shopaholic. They are one of the BEST series I have ever read! Here is some information about the author and the other books she has written..then go out and BUY HER BOOKS!!
Madeleine Wickham (nee Townley), under her own name and the pseudonym, Sophie Kinsella, is a bestselling British author.
Educated at Putney High School and New College , Oxford , she worked as a financial journalist before turning to fiction. She is best known for writing the Shopaholic novels series of chick-lit novels, which focus on the misadventures of Becky Bloomwood, a financial journalist who cannot manage her own finances. The books follow her life from when her credit card debt first becomes overwhelming ("Confessions of a Shopaholic") to the latest book on being married and having a child ("Shopaholic & Baby"). Throughout the entire series, her obsession with shopping and its resulting complications for her life is a central theme.
The first Shopaholic book is scheduled to be released as a Disney film in 2008, with Isla Fisher playing Becky and Hugh Dancy as Luke Brandon. The film will be set in New York, rather than London, where the book is set.
Sophie lives in Hertfordshire with her husband, Henry Wickham, a headmaster of a boys' prep school. They have been married for 17 years and they have 3 sons, Freddy 11, Hugo 9 and Oscar 2.
Shopaholic
The Secret Dreamworld of a Shopaholic (also titled Confessions of a Shopaholic ) (2000)
Shopaholic Abroad (also titled Shopaholic Takes Manhattan) (2001)
Shopaholic Ties the Knot (2001)
Shopaholic and Sister (2004)
Shopaholic and Baby (2007)
Other
Girls Night In (2004) (An omnibus of novels, along with "many more fabulous authors" including Meg Cabot and Jennifer Weiner )
Can You Keep a Secret? (2004)
The Undomestic Goddess (2005)
Remember Me? (2008)
Legally Blonde
Legally Blonde is a great movie that has an important message to never stop believing in yourself. Also... Elle wears one of my favorite colors...PINK!! I went on wikipedia.com to get the plot, errors and the taglines of the film!
Meet Elle Woods. She's a lawyer with a heart of gold...and a mane to match.
Boldly going where no blonde has gone.
Blondes DO have more fun!
Don't judge a book by its hair color!
Believing in yourself NEVER goes out of style!
Plot
Elle Woods ( Reese Witherspoon ) is the typical pampered " Valley Girl ," growing up in Bel-Air , across the street from Aaron Spelling . She is president of her sorority , Delta Nu , at the fictional CULA, the California University of Los Angeles (an anagram of UCLA ). Nearing graduation, Elle expects her Harvard Law School -bound boyfriend , Warner Huntington III ( Matthew Davis ), to propose, but he instead breaks up with her, saying that she is not "serious" and would hinder his political future. Elle later finds out that Warner's brother, Putnam Bowen Huntington III, is marrying Layne Walker Vanderbilt, also a Harvard law student. Crushed, Elle decides the only way to way to win Warner back is to attend Harvard Law School. With an exceptional LSAT score (179), a 4.0 GPA (albeit achieved as a fashion design major), and a confident application video including herself in a bikini, she wins the approval of the admissions board.
At Harvard, Elle is initially met with hostility and skepticism of her abilities, and she finds Warner is already engaged to fellow law student Vivian Kensington ( Selma Blair ). Vivian reluctantly invites Elle to a formal gathering, but tells her it is a costume party to humiliate her. Though she shows up dressed as a Playboy bunny , Elle is unfazed. She confronts Warner and finds that his perception of her is unaffected by her accomplishments. Spurred by his dismissive remarks, Elle immerses herself in her studies and becomes a top student in her class. She still finds it hard to be taken seriously, although Emmett Richmond ( Luke Wilson ), the trial assistant of Callahan ( Victor Garber ), one of Elle's professors, is friendly to her and recognizes her potential.
Along with Warner and Vivian, Elle is hired as an intern at Callahan's firm. They are assigned the case of defending a young woman, Brooke Taylor Windham ( Ali Larter ), accused of murdering her wealthy husband. Windham is coincidentally a former member of Elle's sorority and a famous fitness instructor, facts that convince Elle of her innocence. Her stepdaughter and the household's "cabana boy" Enrique Salvatore ( Greg Serano ) attest to finding Windham standing over her husband's dead body.
After Windham refuses Callahan's request for an alibi, Elle visits her in jail where she confides that she was having liposuction at the time of her husband's death. Worried that this would destroy her reputation as a fitness instructor, she asks that Elle keep the alibi secret. Elle complies despite pressure from Callahan. Vivian is extremely impressed that Elle kept Brook Windham's alibi, and the two start to become friends. To further discredit Windham, Salvatore testifies that he and Windham had been having an affair. Elle reasons that Salvatore is actually gay, given that he is able to correctly identify the brand of her shoes as "last season Prada ," something that a straight man can't identify. Although Callahan dismisses her claim as speculative and frivolous, Emmett takes the initiative and tricks Salvatore into admitting this on the stand by asking what Salvatore's boyfriend name is.
Callahan has a private discussion with Elle after the session. To her disgust, he reveals he finds her attractive and begins to caress her thigh. Elle angrily storms out and is met by Vivian, who witnessed Callahan touching Elle's leg and tells her she should sleep with the jury too so they can win the case. Convinced that she will never be taken seriously, Elle decides to quit and return to California. However, after encouragement from one of her female professors and with Emmett's support, she decides to stay. Emmett informs Windham of Callahan's transgression, and she decides to fire Callahan and replace him with Elle.
Since Elle is not a lawyer yet, she is supervised by Emmett. During her cross-examination, the victim's daughter, Chutney Windham ( Linda Cardellini ), claimed to have been taking a shower at the time of the murder, but Elle argues that having had her hair permed that day, a shower would have deactivated the ammonium thioglycolate and would have ruined her curls. Badgered by Elle's aggressive questioning, the daughter finally breaks down in tears and confesses to accidentally shooting her father, believing he was her stepmother, whom she resented for being the same age as she. With this, she is arrested and Brooke is cleared of all charges.
The end of the film shows that Elle graduated from Harvard as the class-elected speaker of her grad class with high honors, and she has been recommended to one of the country's most successful law firms. Now Elle's best friend, Vivian has called off her engagement to Warner, who graduates with no honors or any prestigious job offers. Emmett is revealed to be planning to propose to Elle right after her graduation.
Errors
Curls can be wet following a perm; they just cannot be washed. Thus, Elle's example of Tracy Marcinco's curls being ruined after getting wet at a wet t-shirt contest could be null and void (unless the water contained shampoo, conditioner, or soap, but Elle is interrupted before this could be established). However, since Chutney did say that she was upstairs washing her hair, the argument Elle uses is still valid.
In the scene in which Elle is dismissed from class for being unprepared, the professor asks Vivian Kensington whether "diversity jurisdiction" exists in a case earlier identified as Gordon v. Steele. When Kensington answers that such jurisdiction did not exist, the professor says that this is the correct answer. The Federal Court of Appeals actually found that diversity jurisdiction did exist in the case. See Gordon v. Steele, 376 F. Supp. 575 (W.D. Pa. 1974).
Everything You Need to Know About Hair Color
Dying your hair? Here are some great tips that I found on beauty.about.com...then DYE AWAY!!
Getting your hair color right isn't a science. It's really quite simple: Stick to colors that complement your skin tone, figure out if you're best off with all-over color or highlights and then decide if you're going to pay someone else to do it or do it yourself.Here are 11 tips and tricks your hairdresser knows, from how to avoid the wrong color to exactly how to do it yourself.
Pick the right shade of blonde Some women look good in any color but most women don't. Some rules of thumb for going blonde, according to Allure's Confessions of a Beauty Editor , which is my favorite beauty book of the moment:Sallow skin with yellow undertones? Deep golds aren't for you. Pink skin? Avoid strawberry shades. Doing it yourself? It's best to go no more than a couple shades lighter than your current shade.
The right way to go (or stay) brown Here are more Allure tips for going dark: If you're pale, careful with the super dark tones, you might look ghostly and older. (Eeek). Just as with blonde, it's best to start out just a couple shades from your natural color. In this case, avoid going more than a couple shades darker initially.
To color or to highlight, that's the question. We find women with short hair look better with full color rather than highlights. If you have medium-length to long hair, highlights -- especially around the face -- can be very flattering. For the most natural-looking highlights, you can ask your stylist for up to five different shades of color, according to 'Confessions.'
Keep in mind that due to root growth, all-over coloring will need to be touched up every four to eight weeks, while highlights can last up to two or three months.
Different types of highlights. There are basically four types of highlights: basic foil highlights, baliage or 'hair painting', chunking or 'piecing' and lowlighting.
Doing it yourself? Home-color kits have come a long way in the past few years and are perfect for busy people and those who want cut the cost of professional colorings. (We know of a couple top fashion editors who color their hair themselves!). Some great hair coloring kits include: L'Oreal Natural Match
Hair Color Clairol Nice and Easy
Coloring newbie? Start with a semipermanent color. Semipermanent colors wash out after a few washes, whereas permanent colors have to grow out. If you are new to coloring your hair, you might start with a semipermanent hue UNLESS you want to cover gray hair or go two or more shades lighter or darker. For more information on semipermanent vs. permanent colors .
How to tell if you'd make a great blonde A basic rule of thumb: People who had blonde hair as children have the right skin tone to be blonde adults. Some home hair coloring tips: rub Vaseline around your hairline as a protective measure before applying color. To remove after coloring, rub a small amount of cream cleanser and wipe off with cotton balls. Always wear gloves and wrap an old dark-colored towel around your shoulders. Rinse your eyes with water if you get color in your eyes. If you forgot the Vaseline and stained your skin, rub the area with a cotton ball soaked in alcohol-based toner.
How to hide that gray Gray hair can be resilient to hair dye because of its coarse texture. If your hair is less than 15 percent gray, opt for a semi-permanent color that's a shade lighter than your natural color (or matches your color). The gray will blend right in. If your hair is more gray, colorist Rita Hazan in the November 2004 issue of InStyle magazine, suggests a permanent 'ashy' color, which will help your gray hair appear blonde. Permanent colors are really the only way to completely cover gray hair, according to InStyle's Getting Gorgeous .
Don't like the color? Don't be afraid to go back to the salon and talk to your stylist. There are all sorts of ways to fix color that's just not right. If you did it yourself with a semi-permanent color, look for a shampoo with 'ammonium laurel sulfate' to wash away the color faster, according to Getting Gorgeous.
After care. Once you invest money in a hair color, you should protect your investment with the proper after-color care. Refresh your color by using a color-enhancing shampoo and conditioner once a week. These products deposit miniscule amounts of color into hair. Check out this list of the 8 best hair products for color-treated hair.
Root rescue. You can expect your color to last about 6 to eight weeks before your roots show. If your hair is colored, you'll want to get your roots touched up or do them yourself with a kit you can buy at the store like Clairol Nice and Easy Root Touch Ups . Be sure and test the color first before applying.If you have highlights or lowlights, you can avoid having your whole head colored by asking your stylist to do your hairline, crown and part. A word of warning: Foil highlights require precise application and fixing dark roots is nearly impossible.
Ask about easier to maintain highlighting techniques.
Fashion Careers!
Here are just some of the Fashion Careers you can have!
Fashion Design Production
Model
Can A Birkin Bag Get You Special Treatment?
The Birkin bag. Everyone wants one but not everyone can get one. I found an artical on usatoday.com written by Kelly Carter about her experience with the Birkin bag and how it did and didn't get her places! READ ON!!
There are bags — and then there's the Birkin. The Hermès design is the epitome of luxury. In Bringing Home the Birkin, Michael Tonello details his life as a seeker and seller of the bags. What's it like to wear such a symbol of wealth? Does it make salespeople fall over themselves to help you? Garner a great table at a fancy restaurant? Kelly Carter hit NYC and L.A. with a $9,000 Birkin to find out. With no logo to indicate the maker, Birkins aren't as recognizable as some high-end bags, and even in locations known for luxury, the bag was sometimes overlooked — but sometimes not.
New York
Out to eat: At celebrity chef Marcus Samuelsson's new restaurant, Merkato 55, in New York's trendy Meatpacking District, I plopped the bag on the bar while my party waited for its table. No one around blinked an eye. Another day at Via Quadronno, a tiny, chic Italian restaurant on the tony Upper East Side and a favorite spot for ladies who lunch, I halfway expected a hostess to produce a small stool for my pricey purse as I searched for somewhere other than the floor to put it. But nothing.
Shopping: All eyes weren't exactly on my bag when I sauntered down Fifth and Madison avenues, both lined with designer shops. But once inside a store, I figured things might be different. At Barneys New York, I checked out a $3,500 Bottega Veneta handbag and listened to the saleswoman rattle on about how well-made that purse is. When I asked her if it would hold up better than my Birkin, it was as if she'd noticed the bag for the first time.
It was different a few doors down at Hermès. I had popped by a few weeks earlier wearing a pricey Chanel handbag. Only one salesperson spoke to me as I perused two floors. But with a Birkin on my arm, not only was I greeted warmly, but I was also asked if there was anything I would like to see. I was directed to a new $5,650 handbag that hit the shelf an hour ago. My eager salesman even checked for other colors and brought one out in a gigantic orange box, still sealed in plastic.
At a party: At a launch party for Players Club magazine at New York's Mandarin Oriental, a woman checked out the bag and then asked if there's really a waiting list. Before I could answer, she babbled on that if she had just one Birkin, she would never yearn for another purse.
Celeb chat: At a news conference to introduce Kelly Ripa as brand ambassador for Electrolux appliances, she passed by me and said, "Nice handbag." When we later sat down for an interview, she mentioned the purse. She's Birkin-less and said she was waiting for a very special occasion. More than an hour later, she passed me in the lobby and said, "Bye, Kelly." Most celebs don't bother to remember a reporter's name, even if they share it. I chalk it up to the Birkin.
Los Angeles
Shopping: I strolled down Rodeo Drive in worn Levis, a nondescript H&M shirt, Ralph Lauren loafers and Bulgari sunglasses. The Birkin received no special attention. I waltzed into the shoe department at Saks Fifth Avenue, and one salesperson said hi before departing to help others. No one ever asked if I needed anything.
A few days later at Neiman Marcus, an overzealous perfume model obviously spotted the Birkin coming down the escalator and rushed over with two bottles of Clive Christian and asked if I would like to try "the world's most expensive perfume."
In the millinery department, a fellow shopper eyed my pocketbook and asked me where I got it. But the purse fell flat in the shoe section, where I tried on a pair of $800 Christian Louboutin sandals and no one fawned.
Out to eat: At Crustacean, an upscale Beverly Hills restaurant, I walked in solo without a reservation and was given a prime table for two, which meant the Birkin could have its own seat. It was in good company, because I could watch as, two tables over, Warren Beatty, Annette Bening and presumably their children ate dinner and took pictures.
But at BLT Steak, the newest hot spot on the Sunset Strip, I stood for an hour in the bar section proudly displaying my Birkin while hoping to get seated, even though my group didn't have a reservation. The Birkin worked no magic, and we left.
Stiletto Heel
What girl does not want to own a stiletto heel?? I went on wikiepedia.com ( hahah my favorite site to get the rundown on anything) to find out more about this notorious heel!
A stiletto heel ( spike heel) is a long, thin heel found on some boots and shoes , usually for women. It is named after the stiletto dagger , the phrase being first recorded in the early 1930s.Stiletto heels may vary in length from 2.5 centimetres (1 inch ) to 20 cm (8 inches)or more if a platform sole is used, and are sometimes defined as having a diameter at the ground of less than 1 cm (slightly less than half an inch). Stiletto-style heels shorter than 5 cm are called kitten heels . Not all high slim heels merit the description stiletto. The extremely slender original Italian-style stiletto heels of the very early 1960s were no more than 5mm in diameter for much of their length, although the heel sometimes flared out a little at the tip. After their demise in the mid-late 1960s, such slender heels were difficult to find until recently due to changes in the way heels were mass-produced. However, no moulded plastic heel with internal metal tube can hope to achieve the slender line or strength of a metal-stemmed stiletto, so it was only a matter of time before popular opinion and the demands of shoe designers brought back the manufacture of genuine stiletto heels.
History
A pair of shoes with 12 cm stiletto heels
High heel shoes were worn by men and women courtiers . The design of the stiletto heel originally came from the late Kristin S. Wagner but would not become popular until the late 1950s. The stiletto heel came with the advent of technology using a supporting metal shaft within the heel, instead of wood or other, weaker materials that required a wide heel. This revival of the opulent heel style can be attributed to the designer Roger Vivier and such designs became very popular in the 1950s.
As time went on, stiletto heels became known more for their erotic nature than for their ability to make height. Stiletto heels are a common fetish item. As a fashion item, their popularity was changing over time. After an initial wave of popularity in the 1950s, they reached their most refined shape in the early 1960s, when the toes of the shoes which bore them became as slender and elongated as the stiletto heels themselves. As a result of the overall sharpness of outline, it was customary for women to refer to the whole shoe as a "stiletto", not just the heel. Although they officially faded from the scene after the Beatle era began, their popularity continued at street level, and women stubbornly refused to give them up even after they could no longer readily find them in the mainstream shops. A version of the stiletto heel was reintroduced as soon as 1974 by Manolo Blahnik , who dubbed his "new" heel the Needle. Similar heels were stocked at the big Biba store in London, by Russell and Bromley and by smaller boutiques. Old stocks of unworn pointed-toe stilettos, and contemporary efforts to replicate them (ironically, lacking anything like the true stiletto heel because of changes in the way heels were by then being mass-produced) were sold in street fashion markets and became popular with punks, and with other fashion tribes of the late 1970s until supplies dwindled in the early 1980s. Subsequently, round-toe shoes with slightly thicker (sometimes cone-shaped) semi-stiletto heels, often very high in an attempt to appear more slender (the best example of this being the shoes sold in London by Derber), were frequently worn at the office with wide-shouldered power suits . The style survived through much of the 1980s but almost completely disappeared during the 1990s, when professional and college-age women took to wearing shoes with thick, block heels . However, the slender stiletto heel staged a major comeback after 2000, when young women adopted the style for dressing up office wear or adding a feminine touch to casual wear, like jeans.
Stiletto heels are particularly associated with the image of the femme fatale . They are often considered to be a seductive item of clothing, and often feature in popular culture.
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Stiletto heels are often used in trampling fetishism, in which a dominant partner tramples on a submissive partner with the intention of hurting him/her for a sexual pleasure received by both the dominant and the submissive.
Stilettos give the optical illusion of a longer, slimmer leg, a smaller foot, and a greater overall height. They also alter the wearer's posture and gait, flexing the calf muscles, and making the bust and buttocks more prominent.
Disadvantages
Stiletto heels transmit a large amount of force in a small area, and are therefore often strengthened by a metal tube, into which is inserted a metal or hard plastic tip. The great pressure transmitted through such a heel (greater than that exerted by an elephant standing on one foot)can cause damage to carpets and floors . The heel will also sink into lawns , making high heels impractical for outdoor wear.
Some people think that stiletto heels can render wearers less stable than wider high heels due to the small diameter of heel at the ground. This is a fallacy. The act of balancing in a high, thin heeled shoe is accomplished at the front of the foot, not at the heel. A shoe with a high wide heel and a deep, rigid platform sole which prevents the wearer from feeling contact with the ground may feel sturdy when stationary, but is more likely to completely capsize and cause the ankle to sprain or fracture than a teetering stiletto shoe with a thin flexible sole which may appear to wobble and tremble, but has no disastrous "point of no return". Walking across a wet cobbled street is quite tricky in stiletto heels, but it is a sure route to the casualty ward in high platform shoes, despite their treacherous illusion of empowerment and strength.
It has also been suggested that the daily wear of stiletto heels can cause leg, hip and back problems. Strangely enough, provided the shoe is properly designed and balanced, the higher, approx. four inch stiletto heels do not seem to be the culprits, as the wearer, walking delicately on tiptoe as she has to do, puts little weight down on her heel, and probably will not wish to walk too far before tiring and resting. Such shoes are generally reserved more for special occasion wear. Stress damage to the skeleton due to walking impact during prolonged wear is far more likely to be the case with the harmless-looking, lower "kitten" stiletto heel many women favour for work, which permits a more normal, forceful gait, takes far more of the wearer's weight than a higher heel, and transmits the force of that concentrated weight into the ground sharply when walking, causing shock waves up the spine. This can be tested (with permission!) by placing a hand on a woman's lower spine when she is walking in various different heel heights - the impact vibrations transmitted up the skeleton by walking purposefully in the manner allowed by the lower stiletto heels are far more noticeable.
Sex And The City
Sex And The City is one of my all time favorite show!! THe movie was FANTASTIC along with the trendsetting fashion the series promoted! I went on Wikipedia to give a run down to the show and charectors.
Sex and the City is a multiple Emmy Award , Golden Globe award–winning popular American cable television program. The original run of the show was broadcast on HBO from 1998 until 2004, for a total of six seasons.
Set in New York City , the show focuses on four women, three in their mid-thirties, and one in her forties. The sitcom had serialized story lines, as well as dramatic elements and tackled socially-relevant issues such as STD's, safe sex, multiple partners, promiscuity and often specifically dealing with women in society in the late 1990s, and how changing roles and definitions for women affected the characters.
The show was primarily filmed at New York City's Silvercup Studios and on location in and around Manhattan . Since it ended, the show has been aired in syndication on networks such as TBS , WGN , The CW , and many other local stations. However, basic cable outlets edit out certain explicit show content that was broadcast in the original version.
Premise
The show was based in part on writer Candace Bushnell 's book of the same name, compiled from her column with the New York Observer . Bushnell has stated in several interviews[ specify ] that the Carrie Bradshaw in her columns is her alter ego ; when she wrote the "Sex and the City" essays, she used her own name initially; for privacy reasons, however, she created the character of Carrie Bradshaw, a woman who was also working as a writer and living in New York City. Carrie also has the same initials, which reiterates her connection with Bushnell.
Darren Star , the show's creator, paid $50,000 to Bushnell for complete rights to her columns.The show "bears only a passing resemblance to its source material"; the columns were "darker and more cynical" than the "gentler" series that Star produced.According to Sex and the City: Kiss and Tell, by Amy Sohn ,Star wanted to create a show that expressed true adult comedy, sex, in an up-front way.
The narrative of the show focuses on Carrie and her three best friends. The women discuss their sexual desires and fantasies, and their travails in life and love. The show often depicts frank discussions about romance and sexuality, particularly in the context of being a single woman in her mid-thirties. Each episode in season one features a short montage of interviews of people living in New York City regarding topics discussed in that episode. These continue through season two but were then phased out.
Another feature that would eventually be scrapped was Carrie breaking the fourth wall (for example, looking into the camera and speaking to the audience directly, also known in older drama as an aside ). Bradshaw would question scenarios and ideas, asking the audience for an opinion or insight on different situations. The pilot , however, also had the characters of Miranda and Charlotte as well as a few minor characters speaking directly to the camera/audience. The last such event by Carrie occurs in episode 3 of the second season, " The Freak Show ".
The method of expressing inner monologues was shifted exclusively to voiceovers by Carrie in future episodes. Her main narration usually revolves around the premise of that week's "article", where she sums up her thoughts with, "I couldn't help but wonder...". As she says that, her computer monitor is shown while she is typing the text of her voiceover, ending up with the theme of the episode expressed as a question such as, "Are we sluts?" or "Can you really have sex without politics?"
Sex and the City characters
Carrie Bradshaw ( Sarah Jessica Parker ) is the narrator of each episode. Each episode is structured around her train of thought while writing her weekly column, "Sex and the City," for the fictitious newspaper The New York Star. A member of the New York glitterati, she is a club/bar/restaurant staple who is known for her unique fashion sense (particularly footwear). This is evident in the episode "The Real Me" in season four, when she is asked by Lynne Cameron (played by Margaret Cho) to be in a New York fashion show. She works on her PowerBook in her apartment, writing newspaper articles focusing on the different aspects of a relationship. In later seasons, her essays are collected as a book and she begins taking assignments from Vogue and New York Magazine . Carrie is house-proud; her one-bedroom, rent-controlled apartment is in an Upper East Side brownstone . Despite several long-term boyfriends, Carrie is entangled with "Mr. Big"( Chris Noth ) in a complicated, multifaceted on and off relationship.
Samantha Jones ( Kim Cattrall ) is the oldest and most sexually confident of the foursome. Samantha is an independent businesswoman, with a career in public relations . She is confident, strong, outspoken, and calls herself a "try-sexual" (meaning she'll try anything once). One of Samantha's best qualities is her loyalty to her friends. When Carrie confesses to her that she's having an affair with her married ex-boyfriend (and cheating on her own boyfriend, as well), Samantha tells her that judging is not her style and offers her support. She has a conspicuous sexual appetite and avoids emotional involvement at all costs while satisfying her physical desires. She believes that she has had "hundreds" of soulmates and requires that her sexual partners leave, "an hour after I climax." During the course of the show it is revealed that Samantha's glamorous, impenetrable facade and dismissive approach to love actually hides a sensitive, caring nature. Samantha has a number of relationships in the show (including one with a lesbian artist named Maria), albeit far fewer than the number of her casual sex encounters. In Season 3, she moves from her full-service Upper East Side apartment to an expensive loft in the then-transforming Meatpacking District . In Season 6, Samantha's character further develops when she is suddenly diagnosed with cancer when visiting a plastic surgeon for a breast implant consultation. An operation and chemotherapy challenge Samantha, but she beats cancer and it becomes clear the experience has renewed her with a new perspective on life and love with her most permanent and fulfilling relationship yet, with a younger man, model/actor, Smith Jerrod.
Charlotte York ( Kristin Davis ) works in an art gallery and has had a conventional Connecticut upbringing. She is the most conservative and positive of the group, the one who places the most emphasis on emotional love as opposed to lust, and is a true romantic; always searching for her "knight in shining armor." She scoffs at the lewder, more libertine antics of her friends (primarily Samantha), presenting a more traditional attitude about relationships, usually based around " the rules " of love and dating. Despite her conservative outlook, she has been known to make concessions (while married) that even surprise her more sexually liberated girlfriends. Charlotte was a "straight A" student who attended Smith College where she was a member of Kappa Kappa Gamma majoring in Art History with a minor in Finance . During the series, it is also revealed that Charlotte was voted homecoming queen, prom queen, "most popular," student body president, track team captain, and was active as a teen model.
Miranda Hobbes ( Cynthia Nixon ) is a career-minded lawyer with extremely cynical views on relationships and men. A Harvard Law School graduate from Philadelphia with two siblings, she is Carrie's best friend, confidante, and voice of reason. In the early seasons, she is portrayed as masculine and borderline misandric , but this image softens over the years, particularly after she becomes pregnant by her on/off boyfriend, Steve Brady, whom she eventually marries. The birth of her son, Brady Hobbes, brings up new issues for her Type A , workaholic personality, but she soon finds a way to balance career, being single and motherhood. Of the four women, she is the first to purchase her own apartment (across the park from Carrie, on the Upper West Side ), and later a home in Brooklyn .
Mr. Big ( Chris Noth ) is a pseudonym for the charming, attractive, sarcastic, and wealthy love interest for Carrie Bradshaw. He is the reason for many of Carrie's breakdowns as he never seemed ready to fully commit to Carrie. During the course of the series he marries Natasha, who is ten years younger than Carrie. An affair with Carrie destroys Big's marriage and Carrie's relationship with her other major love interest, furniture designer Aidan. In the final episode, Mr. Big realizes that life without Carrie is nothing. He is a big jazz fan and a heavy cigar smoker with plenty of money to burn. His name, John, was not revealed until the end of the series finale. In the movie version, his full name of "John James Preston" is revealed for the first time.
Steve Brady ( David Eigenberg ) is Miranda's on and off boyfriend throughout the series since he was introduced in the second season. He eventually marries Miranda at the end of Season 6, after they had a child together at the end of Season 4. He is one of the few men on the show meant to counter-balance all the emotionally unstable men encountered throughout the series, as he is a constant and sensitive male character. His alcoholic mother, Mary Brady, played by Anne Meara , is also a prominent recurring character.
Aidan Shaw ( John Corbett ) was a former boyfriend of Carrie Bradshaw. They met at his furniture store after he was featured in a newspaper article; Carrie was instantly drawn to Aidan's laid-back sex appeal. Although Carrie and Aidan were engaged, Carrie was reluctant to actually get married. She realized that, unlike Aidan, she needed to be out in the world of Manhattan. Carrie also realized that Aidan didn't really trust her because she had betrayed his trust once before.
Aleksandr Petrovsky ( Mikhail Baryshnikov ) was a former boyfriend of Carrie Bradshaw. When Carrie and Charlotte make a visit to an art gallery, the pair run into famed Russian artist Aleksandr Petrovsky. While Charlotte is thrilled to meet one of her favorite artists, Aleksandr clearly pays more attention to Carrie. Later in the week, he calls her up to ask her on a date, which Carrie accepts. Carrie eventually meets up with Aleksandr at Russian Samavor for a late dinner, followed by another trip to the gallery in which they first met. Although the evening has a few awkward moments, Carrie eventually surrenders to his charm, with the couple sharing a passionate kiss. The morning after she first sleeps over at Aleksandr's apartment, Carrie is briefly introduced to his assistants. One of the assistants, Padma, can be seen talking on the phone in Malayalam . Carrie's relationship with Aleksandr was always doomed, because of the vast age difference between them and the artist's obsession with his career.
How To Have Healthy Hair
Do you crave healthy hair? Follow these steps that I found on wikihow.com and begin to get healthy and beautiful hair...NOW!
Steps:
1)Wash regularly. How often you wash your hair will depend on your type of hair. The best answer is to work it out for yourself by trying out washing over different days; every day, every two days or maybe every three days. Those with longer hair usually prefer to wash hair less often because it takes more time and effort to dry it; with shorter hair, every day might suit you.
2)Find the products that suit your hair. Do not use products just because a friend of a friend recommended them, or just because it happened to be the cheapest brand on the shelf. They must really work for your hair; again, it is trial and error. Also, be prepared for changing brands. Sometimes this is just a better option for your hair if it is getting dank and lifeless with your current product.
3)Buy a suitable conditioner. Conditioner helps de-tangle and fortify your hair. Seek advice from your hairdresser if you haven't any clue what might be best for your hair type. If you're going to use conditioner, you should only apply it to the ends of your hair, which needs the most moisture.
4)Try not to blow-dry your hair every time you wash it The heat of the dryer can damage your hair. If you must blow-dry it, squeeze the extra moisture from your hair so it will dry quicker.When blow-drying, protect your hair from the heat by applying a styling cream to damp hair. Seal in moisture at the end of blow-drying and smooth down flyaways with a little serum or oil, too (only use a tiny amount — any more and your hair could look greasy).
5) Visit the hairdresser regularly. A trim is best every 6 - 8 weeks, a bit less often if you're growing your hair out. This will help avoid split ends and it will stop your style from going out of shape.
6) Always keep your hair neat. Use combs, barrettes, elastics etc. to keep hair neat. If you are prone to flyaway hair, seek advice from your hairdresser for a good product to tame it. NEVER put it up with rubber bands, as they could damage your hair.
7)Keep up with the styles. As you change in life, as you move into new things and as you age, it is a good idea to update your look. What might have looked great 5 years ago may be looking tired and lank now. A new hairstyle can be as rewarding as a vacation! Try to match your hairstyle with your face shape. If you don't know whats hape your face is, ask your hairdresser or a friend to help you.
8) Use Oils. This sounds crazy, but if you rub a small quantity of oil on your hair then comb it through, it completely gets rid of the frizz...but it can make your hair look extremely greasy if you use too much. It also can help keep your hair moisturized and reduce protein loss. Favorite oils to use are coconut, olive, and jojoba.
Tips:
-Some people advise that hot (though they're actually warm) oil treatments are good for hair. Ask your hairdresser for advice.
-When you're on the beach, use a hat or a scarf to protect your hair from the sun.
-During the winter, try to wear hats more often to protect your hair from the elements.
Contain longer hair, especially in windy weather, to prevent knots and protect from breakage.
When wearing your hair up in a ponytail or any other hairstyle, try not to tie the ponytail holder too tight or you may end up with breakage/damage to your hair
-Don't be afraid to ask your hairdresser for care and styling tips.
-Look for forums online about hair care and growth. There are a lot out there with excellent advice.
-Try raw egg or mayo, wait two hours to rinse with cold water.
-Use cold water, hot can dry it out.
-Don't wrap hair in a towel, it causes it to be oily.
How To Get Angelina Jolie's Lips
Every girl wants fuller lips! If you want lips like Angelina Jolie's follow the steps I found on wikihow.com!
Steps:
1) Exfoliate your lips with a warm and wet wash cloth by wiping back and forth for no more than 30 seconds.
2)Apply a good lip plumper (the most recent in lip enhancing technology). There are a few good brands sold in department stores and beauty supply stores. They literally plump up, smooth out and moisten the lips. For a natural alternative, cayenne pepper can be used.
3) Apply a very small amount of the powder across the lips, and top with your favorite lip gloss. The cayenne will plump and color the lips by making the blood flow increase (the same action the lip plumpers create), and the gloss will provide shine and moisture.
4)Line and fill in your lips with a light brown or nude lip liner pencil (match your skin tone as closely as you can).
5)Apply a matte flesh-toned lipstick.
6) Blot the lipstick by gently pressing your lips closed with a tissue in-between.
Tips:
-Alternatively, some lip glosses(like Lip Venom) use ginger and cinnamon to increase circulation in your lips to create fuller "bee-stung" looking lips. The cost of this beauty might be a slight burning feeling in your lips. However there is danger of an allergic reaction, so don't lick your lips or your throat may swell up which is extremely dangerous.
-Reduce shine and make your lipstick last longer by adding an ever-so-thin layer of baby powder with a brush.
If the look is a bit harsh for your taste, try adding some shine with clear gloss.
-Make-up artists like this trick, too. Add dimension by taking a liner about 2 shades darker than the lipstick and drawing in a "shadow line" under the middle of the bottom lip. This can be very tricky to master, so make sure you practice before you wear it out. Study pictures of celebrities who have similar lip shapes to your own and try to copy the shadow line found on them.
-Try to constantly use a lip gloss that has peppermint, spearmint, or cinnamon in it, preferably Mentha shine from Bath and Body Works.
-Using medicated lip balms, such as Carmex is great for keeping your lips soft and beautiful. Also, they're more receptive to treatments, such as plumping and infused lip glosses.
-If you have full lips, don't use lip plumper.
Warnings:
-Do not get so focused on your lips that you lose sight of how beautiful the rest of your face is.
-Nature usually shapes the lips to fit in with the other features on the face. The correct balance is much better than something completely out of proportion.
-Also do not forget that this 'bee stung' type look is just a fashion statement. Next year tiny lips, (which are cute) could be all the rage!
-If you do want to try the lipstick type so-called plumpers, read the online reviews, particularly the unbiased ones. It seems most of them do not work.
-A better attitude, a different style of clothing, or a different hair color might be a lot more important than attempting to mimic Hollywood's current favorite lips.
- Be yourself . It is important that you do not get obsessed with getting someone else's features. It is alright to enhance your looks and feel more attractive, but stay true to who you are and do not get obsessed over it.
-If a lipstick plumper hurts your lips it most likely has a chemical you are allergic to in it. Go for a higher up brand.
Katherine Hepburn Style
Kathrine Hepburn was a fsahion icon of her time. She was unique in that she did not follow trneds but made them! I found some information about her style on fsahionmefabulous.blogspot.com and styledash.com!
The question of “who wears the pants?” can only be answered, “Katherine Hepburn.” Hepburn wore pants like no one else in an era were women seldom wore pants. She disliked wearing makeup, spoke her mind, and didn't fit the “blonde bombshell” type of that time. Her unconventional approach to Hollywood set her apart from other actresses and at times hurt her popularity with audiences and the press. Ultimately, Hepburn won four Best Actress Oscars, more than anyone else, and became recognized as the greatest female star of all time by the American Film Institute.
Her tomboyish sexiness, her forceful glamor, her defiant femininity, and her playful power made her an icon both in style and personality. No one can ever match her unmistakable sense of style, but it can serve as an inspiration. Wide legged pants, a classic blouse, a tailored jacket, and stylish loafers make up the basic formula for her look, along with a long and lean silhouette.
Hepburn is credited for breaking the dress code for women in her time. In a time where Hollywood and the fashion industry was bursting with curves, kisses, and sex appeal Katharine's non-conformist style stood out amongst the rest.
Katharine Hepburn Closet Staples:
Loose fitting button down shirts
Loafer style shoes with socks
Gossip Girl
I LOVE Gossip Girl...the book series adn the show. The fashion is FANTASTIC!! I went on Wikipedia and the CW website to check out the info on Gossip Girl adn its cast!
Plot summary
The Gossip Girl series revolves around a group of teenagers, three of whom live on the Upper East Side of Manhattan in New York City . They gossip, but they also deal with sex and relationship problems. They attend elite private single-sex schools , where their lives are watched by the unseen title character who writes a blog about them. Despite attending school, they never seem to have homework or academic difficulties. The main characters are Serena van der Woodsen , Blair Waldorf , Nate Archibald , Jenny Humphrey , Dan Humphrey , Vanessa Abrams and Chuck Bass . Through the course of the books the characters show how they deal with all the problems that come with being part of, or associating with, the upper-east side. Serena comes back from a boarding school after leaving without notice. She comes back for a reason that no one knows. She gets back with her best friend, Blair, and resumes her "normal" life of high end designer clothing and parties with booze.
The private girls' school of the series, Constance Billard School for Girls , is an exaggerated version of the author's alma mater, the Nightingale-Bamford School .
Books
The books are published by Alloy Entertainment and distributed by Little, Brown and Company and Bloomsbury Publishing . The complete series has been published in paperback with the last book, a prequel, It Had To Be You , published in hardcover. Books nine, ten and eleven of the main series were ghostwritten .
The series has two spinoffs, The It Girl and Gossip Girl: The Carlyles . There is also a television series based on the books.
Central characters
Serena van der Woodsen
Serena van der Woodsen is described as 5' 7" with pale, long, blond hair and big, dark-blue eyes. She is slim and ethereally beautiful, often described as "perfect" in the books. She is very smart, but is often told that she is not working to her full potential. Her personality is not always as well regarded as her physical attributes. Like her sometimes best-friend Blair Waldorf , she and her family are prominent in New York society. Serena dabbled in modeling before landing a starring role in Breakfast at Fred's, a remake of Breakfast at Tiffany's . Serena has kept a steady string of admirers, including Nate Archibald , Dan Humphrey, Aaron Rose, and an entire acapella group at Yale . Despite the attention she receives from the opposite sex, Serena longs for true romance. She seeks this in Nate, although Nate has been known to prefer Blair. She has fallen in love many times, but nothing has been too serious. Serena is much less demanding and uptight than Blair; however, she has a tendency to be self-centered. She gets what she wants with very little effort which causes a lot of people to dislike her. She is practically worshiped by freshman Jenny Humphrey who aspires to be just like her despite their physical differences. Serena is often criticized by her classmates who find her an excellent source of gossip, but resent her effortless good looks and her ability to get the attention of any male. Her brother, Erik, attends Brown. Her parents rarely appear in the series. At the end of the book series, Serena decided to stay in New York City, instead of attending one of the many Ivy Leagues schools she got into, because she wanted to discover her life for herself. She is portrayed by Blake Lively in the TV series.
Blair Waldorf
Blair Cornelia Waldorf is described as 5'4" and slender with brilliant blue eyes and a fox-like face. She is involved in extracurricular activities and is very intelligent and determined. For the first three books, she had long, chestnut hair, but chopped it into a pixie cut in Because I'm Worth It , before having it extended in Don't You Forget About Me . She is a hopeless romantic who idolizes Audrey Hepburn and has a sensitive side that contrasts her tendency to be bitchy and controlling. She loves to pretend her life is a movie and watches Breakfast at Tiffany's often. She is vain, although her friendship with it-girl Serena van der Woodsen causes her to be insecure at times. In the first book, when Serena returns, Blair is extremely reluctant to let her back into her life because it would mean giving up the "queen bee" position she held in Serena's absence. She also fears losing Nate to Serena since they slept together before Serena left. Blair uses her charm, money and social clout to get what she wants. Her father, once an uptight lawyer, now lives in a French chateau with his boyfriend, Giles, and their adopted Cambodian twins, Ping and Pong. He shares a love of shoes with Blair. He raised Blair under the impression that she deserves everything she wants. Her mother, Eleanor Waldorf-Rose, is a flaky, society-hostess, who married Cyrus Rose. She has a younger brother, Tyler; a stepbrother, Aaron and a baby half-sister, Yale (named after the college Blair hoped to attend, making her a good luck charm). She has a turbulent relationship with Nate Archibald throughout the series, losing him to other girls several times, including Jenny Humphrey and Serena van der Woodsen . Blair now attends Yale University . She is portrayed by Leighton Meester in the TV series.
Nate Archibald
Nate is a wealthy, good-looking lacrosse player from St. Jude's school for boys. He is described as having wavy golden brown hair and sparkling, emerald-green eyes. His mother is a French socialite and his father is a former Navy captain. He smokes lots of marijuana and was once caught and sent to rehab after buying a dimebag in the park. He has dated a number of girls including Serena, Jenny, Georgina Spark, L'Wren from L'Ecole and Tawny from the Hamptons, but his only serious relationship has been with his on-again/off-again girlfriend, Blair Waldorf , his one true love. After stealing his lacrosse coach's Viagra , he relied on Blair and her alumnus father's connections to get accepted to Yale, although he eventually left to sail around the world with his father's Navy mentor because he is unable to choose between Blair and Serena. He is portrayed by Chace Crawford in the TV series.
Dan Humphrey
Dan is a thin, sensitive, chain-smoking, caffeine-addicted poet who often sees the darker side of things and has said his favorite word is "death." Dan is a romantic whose imagination runs off wildly at the worst times. He over-analyzes and is easily frustrated. He is romantically linked to Vanessa Abrams , who appears to be the love of his life, but he hasn't always been the best boyfriend. Prior to his relationship with Vanessa, he spent two years in love with Serena van der Woodsen. He has held several writing-related jobs, including a poem called "Sluts" published in the The New Yorker ; an internship at Red Letter, a prominent literary magazine; and a short stint as songwriter/lead singer for indie-rock sensation The Raves. He has a close relationship with his sister, Jenny and his father Rufus. Before realizing he loved Vanessa, he was confused about his sexuality and experimented with a guy named Greg. His absentee mother returns in the final book because she believes that he is gay. Dan is now attending The Evergreen State College in Washington. He is portrayed by Penn Badgley in the TV series.
Vanessa Abrams
Vanessa is a budding filmmaker. She is the polar opposite of her Constance Billard classmates. Her parents are hippie artists who live in Vermont , while her sister Ruby is bassist for the band SugarDaddy. She's described in the books as pale, and she shaves her own head. She has a shaky relationship with Dan Humphrey. After Ruby comes back from a world tour with her new fiance, Piotr, Vanessa moves in with the Humphreys, further complicating her relationship with Dan. She is attending NYU at the end of the book series. She is portrayed by Jessica Szohr in the TV series.
Jenny Humphrey
The younger sister of Dan Humphrey , fourteen year old Jenny is the youngest of the Gossip Girl characters. She is 4'11" and has dazzling brown eyes and curly brown hair, is an aspiring artist and holds a secret desire to be a model like Serena van der Woodsen , whom she eventually befriends. She often tries to fit in with the rich girls at her school, even though she does not hold a place in their social sphere. She often goes on wild and embarrassing escapades to set an image for herself and once accidentally starred in a photo shoot for an article entitled "Does Breast Size Matter?" She also allowed a scandalous video of her and Nate Archibald to circulate on the Internet and spent a lot of time with a popular indie rock band called the Raves. After Jenny gets kicked out of Constance Billard School for Girls , she ends up going to a boarding school, Waverly Academy, to reinvent herself as the "It Girl", a la Serena. She is now the main character in a spin-off series of books called " The It Girl ." She is portrayed by Taylor Momsen in the TV series.
Secondary characters
Chuck Bass
Chuck is a rich, handsome, lust-driven, perverted antagonist whose list of the finer things in life is short: sex, alcohol, and rock and roll. He almost took advantage of a vulnerable Jenny Humphrey in a bathroom and on roof top and tried to sleep with an inebriated Serena van der Woodsen. Nobody is certain about his sexual orientation. Chuck has an obnoxious pet monkey named Sweetie, who can often be found perching on his shoulder and wearing coordinated outfits. He is largely despised by other characters, but because their families have been friends for generations and because of his wealth and good looks, they tolerate his egotistical antics and accept him for what he is: a rich party animal. After he was not accepted to any of the colleges he applied to, he ends up going to military college. He is portrayed by Ed Westwick as a primary character in the TV series.
Kati Farkas and Isabel Coates
They make up Blair's former clique before Serena returned to New York City. They are two alumna socialites of Constance Billard School for Girls . Isabel was accepted into Princeton University, but she turned the Ivy down for Rollins College in Orlando, Florida because she wanted to attend college with her best friend, Kati. They are portrayed by Nan Zhang and Nicole Fiscella in the TV series.
Minor characters
Erik van der Woodsen
The older brother of Serena van der Woodsen. Once had a fling with Blair Waldorf. He is portrayed by Connor Paolo in the TV series as Serena's younger brother. She returned from boarding school to see him after had tried to commit suicide.
Aaron Rose
The herb cigarette-smoking and vegan step-brother of Blair Waldorf and son of Cyrus Rose. He drives a red Saab, and had a un-requited crush on his step-sister, Blair. Later on he dated both Serena and Vanessa, and was accepted to Harvard University .
Tyler Waldorf
The younger brother of Blair Waldorf and a student at St. George’s. He was a constant joke when Serena and Blair were best friends, even dropping him off and making him walk home from the Lower East Side .
Elise Wells
Jenny's best friend and a student at Constance Billard. She discovers homosexual attractions - which will prove to be fleeting - and embraces Jenny. She falls in love with Dan who rejects her, but she eventually accepts his feelings and even encourages him to return with Vanessa, although she still loves him. Her dad, Owen Wells, is a Yale Interviewer, and interviews Blair . The two had mutal attraction for each other until Blair found out that Owen was married and Elise is his daughter. She is portrayed by Emma Demar in the TV series.
A mentally insane ex-girlfriend of Nate’s from when they were in rehab together. She has been with Chuck Bass. She is portrayed by Michelle Trachtenberg in the TV series.
Charlie Dern, Anthony Advulsen and Jeremy Scott Tompkison
Nate's friends, also attends St. Jude's, they spend their time smoking marijuana and playing soccer at Central Park. They are not mentioned in the TV series.
TV series
Main article: Gossip Girl (TV series)
The TV adaptation, also titled Gossip Girl , was picked up by The CW. [4] Josh Schwartz , the creator of The O.C. , is executive producer for the project. [5] Blake Lively plays Serena in the show and Leighton Meester plays Blair. Serena's love interest, Dan Humphrey, is played by Penn Badgley . Nate Archibald, is played by Chace Crawford . Taylor Momsen plays Jenny Humphrey, although her physical attributes differ from the book character's DD breast size, curly brown hair, and 5 foot tall frame. Rufus Humphrey is played by Matthew Settle , and Chuck Bass is played by Ed Westwick . Connor Paolo plays Erik van der Woodsen, Serena's younger brother, and Kelly Rutherford plays their mother, Lillian van der Woodsen. Blair's mother, Eleanor Waldorf, is played by Margaret Colin . Nan Zhang plays Kati Farkas and her friend Isabel Coates is played by Nicole Fiscella . Kristen Bell , star of Veronica Mars , narrates the show as the "Gossip Girl" herself. Vanessa Abrams, a main character in the books, makes recurring appearances and is played by Jessica Szohr .
On May 14 , 2008 the CW announced Gossip Girl would be renewed for the upcoming Fall season, and would return September 1 , 2008 and remain in its Monday 8 pm time slot.
The Gossip Girl Cast On The CW
BLAKE LIVELYas SERENA VAN DER WOODSEN
Blake Lively stars as Serena van der Woodsen in The CW's new drama "Gossip Girl," from Josh Schwartz ("The O.C."), based on the tremendously popular book series about privileged teenagers who attend an elite private school in New York City.
Lively has quickly become one of the most sought-after young actresses in Hollywood. Last summer, Lively starred in Universal's summer comedy "Accepted," alongside Justin Long and directed by Steve Pink. She made her big-screen debut in Warner Bros.' "The Sisterhood of the Traveling Pants," for which she earned a "Breakthrough Performance" nomination at the "2005 Teen Choice Awards."
Lively recently completed production on the independent feature "Elvis & Annabelle," starring opposite Max Minghella and Mary Steenburgen, as well as the sequel to "The Sisterhood of the Traveling Pants."
She was also honored at the December 2006 Hollywood Life Breakthrough Awards. She graduated from high school last spring and resides in Los Angeles.
LEIGHTON MEESTERas BLAIR WALDORF
Leighton Meester stars as Blair Waldorf in The CW's new drama "Gossip Girl," from Josh Schwartz ("The O.C."), based on the tremendously popular book series about privileged teenagers who attend an elite private school in New York City.
After making her television debut when she was 13 on "Law & Order," she got her breakout role in 2004 with a recurring role as the Britney Spears-like singer Justine Chapin on the hit series "Entourage." She continued to work steadily with guest-star roles on series like "8 Simple Rules," "Numbers" and "CSI Miami," and has had recurring roles on popular series such as "24," "Veronica Mars," "Shark" and "House." In addition, she had regular roles on "Tarzan" and "Surface."
Meester made her film debut in the feature "Hangman's Curse," based on the best-selling novel by Frank Peretti. She also recently starred in the independent film "Flourish" with future "House" co-stars Jennifer Morrison and Jesse Spencer, and in the drama "Inside." Meester's upcoming feaure films roles include the dramedy "The Beautiful Ordinary," the horror/comedy "Drive-Thru" and the thriller "Dead of Night."
Raised in Marco Island, Florida, Meester became interested in acting when she appeared in a local production of "The Wizard of Oz." When she was 11, she moved with her family to New York City and soon after began working as a model with Wilhemina, booking a Ralph Lauren campaign shot by Bruce Webber and working with then photographer Sophia Coppola.
When not on the set, Meester passionately pursues her talent for music and creative writing. She has recorded a song for the soundtrack of her upcoming film "Drive-Thru." She currently resides in New York.
PENN BADGLEYas DAN HUMPHREY
Penn Badgley stars as Dan Humphrey in The CW's new drama "Gossip Girl," from Josh Schwartz ("The O.C."), based on the tremendously popular book series about privileged teenagers who attend an elite private school in New York City.
Badgley most recently starred in Tom Fontana's "The Bedford Diaries," opposite Matthew Modine and Milo Ventimiglia. On film, he starred alongside Jesse Metcalfe and Brittany Snow in the hit comedy "John Tucker Must Die," and will next be seen starring in the rugby-themed film "Forever Strong." His other film work includes the provocative yet acclaimed independent feature "The Fluffer."
Badgley also played the lead in the Warren Littlefield-produced comedy series "Do Over." He then segued into McG's drama series "The Mountain," with Barbara Hershey and Oliver Hudson.
Though life began for Badgley in Baltimore, he split his formative years between Richmond, Virginia, and Seattle. It was there that he became actively involved in the Seattle Children's Theater and voice-over work that eventually lead he and his mother to Los Angeles, where he secured an agent.
Upon relocating, he landed a coveted guest star role on "Will & Grace." Shortly thereafter, recurring roles on "The Young and The Restless," "The Brothers Garcia" and "Daddio" followed. He also guest starred on "What I Like About You."
When not honing his acting craft, Badgley attended Santa Monica Community College, having already completed his California High School Proficiency Exam at age 14. He has deferred admission to University of Southern California until his work schedule will permit him to return to school. In his spare time, he enjoys surfing, soccer, skiing, snowboarding, singing, and playing the guitar.
CHACE CRAWFORDas NATE ARCHIBALD
In The CW's new drama "Gossip Girl," Chace Crawford plays Nate Archibald, a young man uneasy with all the privileges that have been handed to him by his family, and who finds himself in a love triangle with his longtime girlfriend, Blair (Leighton Meester), and her best friend, Serena (Blake Lively).
Crawford recently wrapped production on the independent movie "She Lived" in Los Angeles, in which he stars as Joseph Young. Haley Bennett from "Music and Lyrics" co-stars and Mickey Liddell is directing. Crawford will next be seen starring in the Wingman Productions film "Loaded," starring alongside Jesse Metcalfe and Monica Keena.
In 2006, Crawford starred alongside Taylor Kitsch, Sebastian Stan and Toby Hemingway in Screen Gems' "The Covenant." The movie follows four young men who belong to a supernatural legacy and are forced to battle a fifth power long thought to have died. Directed by Renny Harlin, "The Covenant" opened at #1 in the box office.
Crawford also appeared in Lifetime's television movie "Long Lost Son" in 2006, in which he portrayed the son of Gabrielle Anwar's character. Directed by Brian Trenchard-Smith, "Long Lost Son" told the story of a mother who realizes 14 years later that the son and husband she believed to have drowned are still alive.
Crawford grew up in Plano, Texas. He moved to Los Angeles to attend Pepperdine University and while there, he began acting as a hobby. Shortly thereafter, he landed his first break as Tyler Simms in "The Covenant."
Currently, Crawford splits his time between Los Angeles and New York City, where "Gossip Girl" is being filmed.
TAYLOR MOMSENas JENNY HUMPHREY
An actress whose poise and range reaches well beyond her years, Taylor Momsen stars as Jenny Humphrey, the freshman from Downtown Soho, who tries to fit in with the wealthy kids from New York's Upper East side, in The CW's new drama "Gossip Girl."
Working with directors ranging from Ron Howard to Gus Van Sant, Momsen is making her mark in Hollywood. She will next be seen in Gus Van Sant's "Paranoid Park" for IFC Films. The film revolves around a teenage skateboarder whose life begins to fray after he is involved in the accidental death of a security guard. The film premiered at the 2007 Cannes Film Festival to rave reviews and was given the 60th Anniversary Award.
Momsen can also be seen in Disney and Spyglass Entertainment's live action/CGI film "Underdog," starring Jim Belushi and directed by Frederik Du Chau. The film is scheduled for release on August 3, 2007.
In 2000, Momsen starred in her breakthrough performance in Ron Howard's "How the Grinch Stole Christmas," as Cindy Lou Who opposite Jim Carrey for Imagine Entertainment and Universal Studios. The film grossed over $340 million worldwide.
Additional film credits include: Robert Rodriquez' "Spy Kids 2," and Randall Wallace's "We Were Soldiers," starring Mel Gibson. Momsen was born in St. Louis, Missouri, and currently resides in Maryland.
ED WESTWICKas CHUCK BASS
Ed Westwick stars as Chuck, an overly confident and sexy bad boy, in The CW's new drama "Gossip Girl," from Josh Schwartz ("The O.C."), based on the tremendously popular book series about privileged teenagers who attend an elite private school in New York City.
An emerging young British actor trained at The National Youth Theatre in London, Westwick was recently seen in two high profile features. He played the role of Alex in Alfonso Cuaron's "Children of Men," opposite Clive Owen and Julianne Moore. Westwick was also seen playing the role of Zoran in Anthony Mighella's "Breaking and Entering," opposite Jude Law, Juliette Binoche and Robin Wright Penn.
Westwick will next be seen in the film "100 Feet," a supernatural thriller written by and to be directed by Eric Red. Starring alongside Famke Janssen and Bobby Cannavale, Westwick plays Joey, a handsome Brooklyn delivery boy who delivers groceries to Janssen's character, who is under house arrest. It is not long before they begin a heated affair. He will also be seen in "Son of Rambow," an independent film directed by Garth Jennings. Westwick plays Lawrence, a bully and surrogate father figure to his devoted younger brother. "Son of Rambow," which premiered at this year's Sundance Film Festival, caused quite a buzz at the festival, selling to Paramount Vantage for the highest amount at the festival.
Additional credits include guest leads in "Afterlife" for ITV1, "Casualty" for the BBC, "Doctors" for the BBC and "Dream Team" for Sky One. When not filming "Gossip Girl" in New York City, Westwick resides outside London.
Ballet Costumes
I found this on dance4it.com. Ballet is one of my favorite dances! I have always been intersted in the costumes, read this and find out more about ballet costumes!!
Costumes. In the early days of ballet, dancers wore heavy, fancy costumes. Ballet skirts came down to the floor. Dancers were less skilled than they are now, and so they were not bothered by bulky costumes. As dancers became more skilled, they wanted costumes that would not hide their steps or interfere with their movements. During the early 1700's, fashions in ballet costumes began to change. The great dancer Marie Camargo shortened her ballet skirt to above her ankles, and removed the heels from her dancing slippers. Ballet technique grew increasingly spectacular, and the skirts became shorter and shorter. Marie Taglioni, a dancer of the 1800's, had a major influence on ballet fashions. For a discussion of this influence, see the Romantic Ballet section of this article. Today, the standard ballet skirt, the tutu, ends well above the knees. The best ballet costumes are light and simple. They show all the lines of the body and never interfere with the dancer's movements. Even in historical ballets, freedom of movement is more important than costumes that look exactly like the clothing of the time. Ballet performers who dance on their toes wear special shoes. The tips of these shoes are made with layers of cloth and glue. The layers strengthen the tips, giving the dancer support.
Kate Moss
Kate Moss is one of my fasvorite models. And at the age of 34 she has proved you can be a supermodel at any age! I found information about her on wikipedia.com!
Moss was discovered at the age of 14 by Sarah Doukas (the founder of Storm Model Management) in 1988, at JFK Airport in New York City , after a holiday in the Bahamas . Moss's career began when Corinne Day shot black and white photographs of her, styled by Melanie Ward, for British magazine The Face when she was 15, in a photo shoot titled "The Third Summer of Love". Moss then went on to become the anti-supermodel of the 1990s in contrast to the supermodels of the moment, such as Cindy Crawford , Claudia Schiffer , and Naomi Campbell , who were known for their curvaceous and tall figures.
Moss was voted 8th in Celebrity Sleuths 25 Sexiest Women of 2004, 8th in Maxims 50 Sexiest Women of 1999 and 22nd in FHM 100 Sexiest Women of 1995. Men's magazine Arena named her as their Sexiest Woman in their 150th issue. In March 2007, Moss won the Sexiest Woman NME Award .She made her first appearance in the British women's Sunday Times Rich List in 2007, where she was estimated to be worth £45 million. She ranked as the 99th richest woman in Britain.
In July 2007, earning an estimated total of $9 million in the past 12 months, Forbes magazine named her second on the list of the World's 15 top-earning supermodels.
Style
Moss ushered in the waif look in 1993 (which prompted much speculation over her weight) with a highly publicised campaign for Calvin Klein , including posing nude in ads for its perfume brand, Obsession. Her depiction in photographs also drew criticism from then President of the United States, Bill Clinton who spoke out against the growing heroin chic trend. Moss charmed the fashion industry despite being unusually short for a runway model and has worked for many elite fashion lines. Now in her 30s, Moss is still working and has become a supermodel in her own right. In 2005, she came second on The Biggest Comeback Stars List – she lost to pop singer Mariah Carey .
In addition to being known for her modelling work, Kate Moss is also an international fashion icon.She has garnered many awards for her style including the Council of Fashion Designers of America 's fashion influence award and a place on the Vanity Fair's international best-dressed list. She appeared on the cover of Vanity Fair's September 2006 style issue. In the year of 2005~ 2006, her style was influenced by Rock and Roll. Due to her reputation, she is credited for setting numerous trends. In recent years she has popularised denim cutoff shorts, Ugg boots , ballet flats, Vivienne Westwood Pirate Boots, skinny jeans, waistcoat, Alexander McQueen's skull scarf, Louis Vuitton's Sprouse Leopard Cashmere Scarf, and the Balenciaga handbag,[as well as recently bringing high-waisted styles and waist-cinching belts back into popularity.
Campaigns
Moss has had campaigns with major Italian, French, American, and British designers including Gucci , Dolce & Gabbana , Louis Vuitton , Versace , Calvin Klein , Roberto Cavalli , Chanel , Missoni , Longchamp , David Yurman , Dior , Yves Saint-Laurent , Burberry , Stella McCartney , Rimmel , and Bvlgari , including a campaign for the successful Brazilian label ELLUS during summer 2000. She has been featured in fashion spreads in most major fashion magazines including UK, US, and French Vogue magazines (as well as other international versions of Vogue), Another Man, Vanity Fair , the Face , and W . Moss has appeared on the cover of British Vogue alone 24 times(in addition to dozens of other international Vogue covers) and has been featured on the cover of 17 issues of W, including one issue with nine different covers featuring the model. W even names Moss its muse (September 2003 issue). She has worked with the most well-known photographers in the fashion industry today, such as Mario Testino , Mario Sorrenti , Steven Klein, Juergen Teller , and Peter Lindbergh . She won the prestigious Vogue/CFDA award from the Fashion Designers of America in July 2005 as Fashion Inspiration. The haute couture dress she wore to the award ceremony was from the Christian Dior fall 2005 haute couture designed by John Galliano.
April 2005 saw the launch of the Rimmel London mascara TV ad featuring a leather-clad Kate Moss riding a motorbike through London to the sound of underground rock musician Steven Crayn .
As of April 2006, camera company Nikon have also signed her to be the face of their new Coolpix S6 digital camera; the photoshoot features Moss posing in a state of undress, with nothing but the camera.
Twelve months after her cocaine scandal Moss made a comeback by bagging 18 top modeling contracts for the Autumn/Winter 2006 season which include: Rimmel , Agent Provocateur , Virgin Mobile , Belstaff , Beymen, Dior , Louis Vuitton , Roberto Cavalli , Longchamp , Stella McCartney , Bulgari , Chanel , Nikon , David Yurman , Versace , Mia Shvili, Calvin Klein Jeans and Burberry . Moss has also agreed to make her first foray into the design world by designing a collection, in collaboration with Katy England, for Topshop ,Moss launched a fragrance and body lotion range bearing her name in association with Coty in 2007.According to Forbes.com Moss is earning more money than before her cocaine scandal. Her 2004–2005 earnings were $5 million and her 2005–2006 earnings were $8 million.She is currently the second highest paid model in the world behind Gisele Bündchen .
In November 2006, Moss won the Model of the Year prize at the British Fashion Awards , the top accolade in British fashion, but the award has divided opinion and stirred fresh controversy.
On September 27 , 2007 , The Sun published a story entitled, "Kate Moss dumped by seven brands", describing her "cocaine honeymoon" as fading away. The story continues by stating that last autumn 2006 she had eighteen contracts in comparison to 2007's eleven. And this time last year, fashion bible Vogue had six campaigns using Moss including Dior , Louis Vuitton and Burberry . November 2007's issue has none. The story concludes by saying that an industry source has said "She is still very big but the honeymoon period has ended."
Despite these press reports, Moss was later announced as the face of Donna Karan , Yves Saint-Laurent and Roberto Cavalli for spring 2008.
Despite all press reports and comments about her relevancy as a model, Moss frequently appears in advertising campaigns; most recently she appears in the Fall 2008 advertising campaigns for Donna Karan Collection, Stella McCartney and Roberto Cavalli.
Fashion designer
On May 1 , 2007 a collection of clothes, designed by Moss exclusively for the Topshop chain, were launched across the UK in the chain's 225 stores. A Kate Moss "countdown to launch" board filled a window of the company's flagship Oxford Street store and on April 30 , Moss launched the clothing line at Topshop in Oxford Street, where she briefly appeared in the shop window modelling a red dress from the clothing collection just before the shop was opened, causing a media frenzy. Topshop has reportedly paid Moss £3 million for her work. The collection of fifty designs includes clothes , bags , shoes and belts where prices range from £12 for a vest top to £150 for a cropped leather jacket . Clothes in the collection include skinny jeans , one-shoulder mini dresses and t-shirts with the letter K woven in to the design. However shoppers are limited to five items each to prevent the clothes appearing on eBay and are only allowed to try on eight garments in the shop. Despite these efforts, the day after the launch saw hundreds of items up for sale on eBay.Although bulk buying is restricted the collection is not a limited edition and the range will remain in stores for an indefinite period.
The collection received mixed reviews from the fashion press. British fashion critics lauded the range, however the New York Post hailed it "Duplikate", based on the strong similarities between Moss's own wardrobe.The range was mildly criticized by fashion advisors Trinny Woodall and Susannah Constantine who argued that the clothing was modelled for only the slimmest of women, and that they were not suitable for an average woman's figure. They stated "No one has a figure like hers so her clothes only really look good on her — not real women." The TopShop range was later released in America at the New York chain store Barneys where 26 designs from the range were on sale for higher prices.[Moss underwear collection for Topshop went on sale on October 25 , 2007 .
Gay Fashion Designers
Most Fashion Desginers who are men are gay. I went to Gay.com to find out more about teh famous desginers and their loved ones!
Gay men have long been associated with the arts and creative professions. While some in the GLBT community have criticized the popular television series " Queer Eye for the Straight Guy " for reinforcing the stereotype that gay men have a superior sense of style, many of the best-known fashion designers of the past century have, in fact, been gay or bisexual.
Until recently, most gay or bisexual fashion designers did not publicly acknowledge their sexuality. Nevertheless, some were assumed to be queer based in part on the company they kept. British designer Sir Norman Hartnell (born 1901), the official dressmaker for the British royal family who created Queen Elizabeth's wedding and coronation gowns, never married and moved in theatrical circles.
Christian Dior (born 1905) lived in Paris during the 1920s, where he became friends with gay playwright Jean Cocteau and his bohemian circle. Although Dior mentioned an intimate friendship in his autobiography, he did not explicitly reveal his sexual orientation.
Rudi Gernreich (born 1922), who in the 1960s became famous for creating the first women's topless bathing suit, also never publicly came out as gay. After fleeing the Nazis in Austria as a teenager, Gernreich settled in Los Angeles. In 1950, he began a relationship with Harry Hay . A year later, Hay, Gernreich, and several other gay men founded the Mattachine Society, one of the first U.S. homophile organizations. Although Hay later received recognition as a gay rights pioneer, he kept Gernreich's secret; the latter's sexual orientation did not come to light until after his death in 1985.
Other designers only revealed they were gay late in life. Sir Hardy Amies (born 1909), who succeeded Hartnell as the queen's dressmaker, did not publicly acknowledged his homosexuality until his old age.
Yves Saint Laurent (born 1936), who as a child was taunted by his peers for being effeminate, did not come out until 1991, in an interview with "Le Figaro" newspaper.
Similarly, 72-year-old Italian designer Valentino Garavani and his former lover and long-time business partner Giancarlo Giammetti finally came out in the August 2004 issue of "Vanity Fair" magazine.
Some queer fashion designers gained fame through their connections with celebrities. Halston (born Roy Halston Frowick in 1932) and Calvin Klein (born 1942) were among the "Velvet Mafia" connected with New York City's Studio 54 disco in the late 1970s, inhabiting gossip columns along with the likes of Andy Warhol, Liza Minnelli, and Bianca Jagger. Halston's increasing drug use, frequent encounters with callboys, and destructive relationship with a Venezuelan lover led to his firing by his parent corporation.
Klein married young and had a daughter, but divorced in 1974. Although he increasingly engaged in liaisons with men, Klein struggled with his sexuality. Yet as one of the first designers to feature buff young men in his famous underwear ads, Klein "made homoeroticism a staple of consumer culture," asserts fashion writer Shaun Cole.
Gianni Versace, born to a poor family in southern Italy in 1946, also hobnobbed with the rich and famous, including his friends Elton John and Princess Diana. Open about his homosexuality, Versace lived with his lover, former model Antonio D'Amico, for more than 10 years. On July 15, 1997, Versace was shot on the steps of his Miami Beach home by gay serial killer Andrew Cunanan, ending a cross-country murder spree that claimed four other lives.
During the 1980s, AIDS had a devastating effect on the fashion world. In 1985, Italian designer Giorgio Armani lost his lover and business partner, Sergio Galeotti, to the disease.
In May 1986, designer Perry Ellis died of AIDS at age 46.
The following year, WilliWear founder Willi Smith - one of the best-known African-American designers -- died of AIDS-related pneumonia. Halston was diagnosed with AIDS in 1988 and died two years later in San Francisco.
In 1990, after AIDS claimed his lover and business partner of 15 years, Jean-Paul Gaultier considered giving up design and committing suicide; instead, he devoted himself to his work, and rekindled his career when he created Madonna's famous bullet-bra corset.
Today, a new generation of designers can live openly -- and even flamboyantly -- gay lives. Domenico Dolce (born 1958) and Stefano Gabbana (born 1962) became lovers in the early 1980s and business partners soon thereafter.
Texas-bred Tom Ford (born 1961), who designed for the houses of Gucci and Saint Laurent, is in a long-term relationship with fashion magazine editor Richard Buckley.
In 2002, Alexander McQueen (born 1969) married his lover, filmmaker George Forsyth, on a yacht off the island of Ibiza.
And Brooklyn-born Isaac Mizrahi (born 1962) is famous not only for creating lavish gowns for Hollywood stars, but also for his television talk show.
While queer men continue to play a prominent role in the world of fashion design, it has become more acceptable for heterosexual (or "metrosexual") men to take an interest in their appearance. "Men are finally accepting the role of sexual attraction and are more comfortable with it," Dolce said in a 2001 interview. "It isn't just a gay thing to enjoy fashion any more."
Heatherette
Heatherette is a funky a stylish company that produces awesome and authentic looking clothes. Here is some information about them that I found on wikipedia.com and nymag.com! Check it out and buy some of their clothes. You can alos see then on their cool website heatherette.com!
Heatherette is a fashion company and design house run by Traver Rains and Richie Rich . It is located in New York City . It owes its roots to the designer, Richie Rich's, status as a " Club Kid " in the late 1980s and early 1990s.
In late 1999, Rains and Rich and buyer at the downtown store Patricia Field who ordered twenty of them on the spot.
Heatherette has been seen on Gwen Stefani , Pamela Anderson , Mya , Kelis , Pink , Paris Hilton , Aubrey O'Day , and other celebrities. Lydia Hearst , the daughter of Patricia Hearst , has modeled in several Heatherette runway shows. For the Fall 2007 collection she and the Heatherette designers collaborated on a limited edition leather bag for Puma .
Heatherette made a splash in the fashion industry very early on, receiving editorial credits in such magazines as Vanity Fair , W , Surface , Paper , YM , In Style , ID , Flaunt , Italian Vogue , and Rolling Stone . An especially wild Heatherette fashion show, which featured Anna Nicole Smith and Boy George , is chronicled in the 2006 nonfiction book, Confessions from the Velvet Ropes by Glenn Belverio . Heatherette has also been featured in New York Fashion Week .
Nothing says "trash and flash" like the dazzling New York pop aesthetic of fashion duo Traver Rains and Richie Rich. The former cowboy and infamous club kid birthed their line when a Patricia Field buyer spotted Rich in one of his own leather tops, ordering 20 of them on the spot. Hip hop star Foxy Brown saw the tops at Patricia Field, and asked Rains and Rich to design her outfits for the MTV Video Music Awards. Soon, Lil' Kim had bought five leather shirts for her tour, and Gwen Stefani wore one of their tops in Entertainment Weekly. The pair has created Hello Kitty couture, crafted sequined and studded mini dresses for Shirley Manson and Paris Hilton, neon, tattered tees for Pink and Justin Timberlake, and crafty, one-of-a-kind looks for David Beckham, Alicia Keys, and Britney Spears. Their crazed-club-kid-meets-award-show-chic designs aren't for shrinking violets—only paparazzi-stopping exhibitionists need apply
Fashion Week
Fashion Weeks is VERY important for fashion designers! It is a week when a designer shows off what they have been working on all year! I went on wikipedia.com to find what fashion week really is and the history of it!
A fashion week is a fashion industry event, lasting approximately one week, which allows fashion designers or "houses" to display their latest collections in runway shows. The most prominent fashion weeks are held in the fashion capitals like Milan , Paris , London , and New York City . In the early and mid 2000s, fashion weeks sprang up around the globe to draw attention to designers elsewhere
Characteristics
In the major fashion capitals, fashion weeks are semiannual events. January through March designers showcase their fall collections and September through November the spring collections are shown. Fashion weeks must be held several months in advance of the season to allow the press and buyers a chance to preview fashion designs for the following season. This is also to allow time for retailers to arrange to purchase or incorporate the designers into their retail marketing.
Fashion weeks are attended by buyers for major stores, editors of fashion magazines, the media, celebrities, and members of the entertainment industry. In years past, fashion weeks were predominantly for "the trade only"; however, today they are entertainment and media events. They may include live musicians, celebrity guests, lavish galas and charity events, and a few allow the public to purchase special passes to see the runway shows or attend expositions which display handbags, jewellery, shoes, hats and cosmetics. Many important fashion design schools participate in the shows, as well.
Some fashion weeks can be genre-specific, such as a Miami Fashion Week (Swimwear), Prêt-a-Porter (ready-to-wear) Fashion Week, Couture (one-of-a-kind designer original) Fashion Week and Bridal Fashion Week, while Portland (Oregon, USA) Fashion Week shows some eco-friendly designers.
History
The earliest fashion week, held in New York City in 1943 , was intended to attract attention away from French fashion during World War II , when fashion industry insiders were unable to travel to Paris to see French fashion shows. Fashion publicist Eleanor Lamber organized an event she called "Press Week" to showcase American designers for fashion journalists , whose innovations had been previously neglected.(Buyers were not admitted to the shows and instead had to visit designers' showrooms.Press Week was a success, and fashion magazines like Vogue, which were normally filled with French designs, increasingly featured American fashion. However after the war, people returned to Paris, and to other fashion "superpowers"; London and Milan, for the new fashion weeks that had emerged. At this point in time, these four cites controlled the fashion calendar, and continue to control it to this day. In the aspects of the buying side, and journalistic side, that is good, as it means less travel and the ease of simply jetting from New York, to the next in line London, then to Milan and lastly Paris in the space of one month. For buyers abroad, the convenience of this arrangement has meant that due to the proximity of London to Milan and to Paris, it means the fashion week is getting even more important.
The one major criticism is, is that talented designers from emerging fashion weeks like Los Angeles or São Paulo, do not get the same recognition as the designers that show in the traditional four fashion weeks, of Paris, London, Milan or New York. It also means that the established designers 'rule' the market, and new designers such as those from lesser economically developed countries, may not be able to open a slot in the fashion week schedule, in the four fashion capitals, hence, although maybe possessive of talent, their abilities to showcase this are severely hindered.
Hair Extensions-The Good, The Bad & The Ugly
Hair Extensions! Every celebrity has them. Do you want them? If you do read this artical that I found on hairboutique.com to find out the facts about Hair Extensions and whether they are right for you!
Almost everyone will agree that having long hair is a lot of time and effort. Sometimes it seems like the time and effort involved is too much. The instant way to long hair is long haired wigs, long hair pieces or hair extensions.
Hair extensions have been popular off and on for several years. Many movie stars ranging from Madonna and Demi Moore to Cameron Diaz have used hair extensions for movie roles. It is a great way to create an instant long haired look.
With the recent introduction of clip-in extensions more women, celebrities and non-celebs alike, are wearing add-on tresses.
What Are Hair Extensions?
Many people are curious about what materials are used to create various hair extensions. This is not an easy answer since hair extensions can be created from 100% real human hair, 100% synthetic hair or a mixture of human, synthetic and animal hair.
Hair extensions are available in just about any color, texture or length. Popular TV star Brandi often wears extensions as well.
How Hair Extensions Are Applied
The hair extension is placed on the parting of a small section of hair and the hair criss-crossed over the extension. The real hair and the hair extension are then tightly plaited or braided together and painted with a bonding solutions. A heated clamp melts the solution sealing the extension around the hair. This is known as "heat sealing".
Hair extensions must be attached by a professional hairdresser or hair expert. It is very difficult and risky to attempt to add hair extensions on your own. Not only will the attachments be hard to handle, you may wind up with an uneven overall length or possibly damage your hair unnecessarily.
Life Expectancy Of The Extension
Most extensions, if applied properly, will last up to four months. After this the special glue-like bond attached to your natural hair will begin to loosen and fall off. Many people will only keep their hair extensions for a short period of time for a special event or occasion. How long extensions are kept is a personal decision.
Care Of Your Hair Extensions:
Hair extensions are washed and treated the same way as you do your natural hair. Hair extensions do tend to wear out with normal wash and wear. As your hair grows, this will tend to affect the extensions. It is recommended that you used high quality gentle hair care products to encourage a long life for your extensions.
Removing The Extension
Removal of hair extensions can be done by the professional that applied them or can be carefully removed at home. You can remove hair extensions by twisting the tiny braided attachments and then gently snapping the seal.
Disadvantages Of Hair Extensions
It is a well known fact that hair extensions can do damage to your natural hair. The glue that is attached to your natural hair can burn and split the ends of your hair. This means that you will almost always be required to have the ends of your hair cut after the extensions are removed.
Also, if a lot of long or heavy extensions are added, this applies additional pressure to your scalp. One of the dangers of extra pressure to your scalp can be a thinning of your natural hair. In some cases there have been reports of headaches from the added weight of the hair or allergies to the bonding glue that is used. Everyone is different and will react to hair extensions in a different way. They are not necessarily good or bad. It depends on a number of factors that you have to consider.
If you are trying to grow your hair long, you might want to think seriously of the potential damage the hair extensions could do to your long hair quest. However, if you only would like a new look for a few months and are prepared to lose some inches along with the extensions, they can be a great solution.
The best advice is to find an expert at hair extensions and discuss all the pros and cons of the instant hair look.
Advantages Of Hair Extensions
Hair extensions can be a lot of fun if you are aware of the risks and the procedures. If you get good advice and find a professional who is skilled at extensions here are some of the advantages you can enjoy:
1. You have an instant new look that is fairly easy to care for once it is applied.
2. You can change the look at any time and know that the long hair has a limited life cycle.
3. You can have an intricate patterns of different colors or beads added to the extension without additional damage to your hair.
4. You can try the look and feel of long hair before you decide to invest a lot of time and energy growing your own.
Summary:
Hair extensions can provide the instant gratification of a gorgeous new long hair look. It can also be costly and time-consuming to have applied.
There are both pros and cons for hair extensions. As long as you do the research and are willing to assume the risks hair extensions can be a new adventure for your hair.
To read lots of great tips by real Do It Yourself hair extension experts check out
Chocolate
Chocolate is every girls best friend! Thanks to Wikipedia.com I found out more information about choclate! Check it out and see what you are putting into your body!
Chocolate comprises a number of raw and processed foods that are produced from the seed of the tropical cacao tree. Native to lowland, tropical South America , cacao has been cultivated for at least three millennia in Central America and Mexico , with its earliest documented use around 1100 BC. The majority of the Mesoamerican peoples made chocolate beverages, including the Maya and Aztecs , who made it into a beverage known as xocolātl, a Nahuatl word meaning "bitter water". The seeds of the cacao tree have an intense bitter taste, and must be fermented to develop the flavor. After fermentation, the beans are dried, cleaned, and roasted, and the shell is removed to produce cacao nibs. The nibs are then ground and liquified, resulting in pure chocolate in fluid form: chocolate liquor . The liquor can be further processed into two components: cocoa solids and cocoa butter .
Pure, unsweetened chocolate contains primarily cocoa solids and cocoa butter in varying proportions. Much of the chocolate consumed today is in the form of sweet chocolate , combining chocolate with sugar . Milk chocolate is sweet chocolate that additionally contains milk powder or condensed milk. " White chocolate " contains cocoa butter, sugar, and milk but no cocoa solids (and thus does not qualify to be considered true chocolate). Chocolate contains alkaloids such as theobromine and phenethylamine , which have physiological effects on the body. It has been linked to serotonin levels in the brain. Scientists claim that chocolate, eaten in moderation, can lower blood pressure. Dark chocolate has recently been promoted for its health benefits, including a substantial amount of antioxidants that reduce the formation of free radicals, though the presence of theobromine renders it toxic to some animals, such as dogs and cats .
Chocolate has become one of the most popular flavors in the world. Gifts of chocolate molded into different shapes have become traditional on certain holidays: chocolate bunnies and eggs are popular on Easter , chocolate coins on Hanukkah , Santa Claus and other holiday symbols on Christmas , and hearts on Valentine's Day . Chocolate is also used in cold and hot beverages, to produce chocolate milk and hot chocolate .
Etymology
The word "chocolate" comes from the Aztecs of Mexico , and is derived from the Nahuatl word xocolat which is a combination of the words, xocolli, meaning "bitter", and atl, which is "water". The Aztecs associated chocolate with Xochiquetzal , the goddess of fertility. Chocolate is also associated with the Maya god of fertility. Mexican philologist Ignacio Davila Garibi, proposed that "Spaniards had coined the word by taking the Maya word chocol and then replacing the Mayan term for water, haa, with the Aztec term, atl."However, it is more likely that the Aztecs themselves coined the term,having long adopted into Nahuatl the Mayan word for the "cacao" bean; the Spanish had little contact with the Maya before Cortés' early reports to the Spanish King of the beverage known as xocolatl. William Bright noted that the word xocoatl does not occur in early Spanish or Nahuatl colonial sources.
History
A mug of hot chocolate. Chocolate was first drunk rather than eaten.
Chocolate has been used as a drink for nearly all of its history. The earliest record of using chocolate dates back to the Maya. In November 2007, archaeologists reported finding evidence of the oldest known cultivation and use of cacao at a site in Puerto Escondido, Honduras , dating from about 1100 to 1400 BC. The residues found and the kind of vessel they were found in indicate that the initial use of cacao was not simply as a beverage, but the white pulp around the cacao beans was likely used as a source of fermentable sugars for an alcoholic drink.The Maya civilization grew cacao trees in their backyard, and used the cacao seeds it produced to make a frothy, bitter drink.Documents in Maya hieroglyphs stated that chocolate was used for ceremonial purposes, in addition to everyday life. The chocolate residue found in an early ancient Maya pot in Río Azul, Guatemala , suggests that Maya were drinking chocolate around 400 AD. In the New World , chocolate was consumed in a bitter, spicy drink called xocoatl, and was often flavored with vanilla , chile pepper , and achiote (known today as annatto ).[ Xocoatl was believed to fight fatigue, a belief that is probably attributable to the theobromine content. Chocolate was also an important luxury good throughout pre-Columbian Mesoamerica , and cacao beans were often used as currency .For example, the Aztecs used a system in which one turkey cost one hundred cacao beans and one fresh avocado was worth three beans.[South American and European cultures have used cocoa to treat diarrhea for hundreds of years.[All of the areas that were conquered by the Azetcs that grew cacao beans were ordered to pay them as a tax , or as the Aztecs called it, a "tribute".[Until the 1500s, no European had ever heard of the popular drink from the Central and South American peoples.It was not until the Spanish conquest of the Aztecs that chocolate could be imported to Europe, where it quickly became a court favorite.To keep up with the high demand for this new drink, Spanish armies began enslaving Mesoamericans to produce cacao.Even with cacao harvesting becoming a regular business, only royalty and the well-connected could afford to drink this expensive import.Before long, the Spanish began growing cacao beans on plantations, and using an African workforce to help manage them. The situation was different in England. Put simply, anyone with money could buy it.[The first chocolate house opened in London in 1657. In 1689, noted physician and collector Hans Sloane developed a milk chocolate drink in Jamaica which was initially used by apothecaries , but later sold to the Cadbury brothers.
For hundreds of years, the chocolate making process remained unchanged. When the people saw the Industrial Revolution arrive, many changes occurred that brought the hard, sweet candy we love today to life. In the 1700s, mechanical mills were created that squeezed out cocoa butter, which in turn helped to create hard, durable chocolate.But, it was not until the arrival of the Industrial Revolution that these mills were put to bigger use. Not long after the revolution cooled down, companies began advertising this new invention to sell many of the chocolate treats we see today.When new machines were produced, people began experiencing and consuming chocolate worldwide
Types of chocolate:
Alongside milk chocolate , white chocolate and dark chocolate are also common chocolate varieties.
White chocolate is formed from a mixture of sugar , cocoa butter , and milk solids. Although its texture is similar to milk and dark chocolate, it does not contain any cocoa solids; thus not officially qualifying as true chocolate. Because of this, many countries do not consider white chocolate as chocolate at all. Although first introduced by Hebert Candies in 1955, Mars, Incorporated was the first to produce white chocolate within the United States . Because it does not contain any cocoa solids, one benefit of white chocolate is that it also does not contain any theobromine , meaning it can be consumed by animals. Dark chocolate is produced by adding fat and sugar to the cacao mixture. The U.S. Government calls this "sweet chocolate", and requires a 15% concentration of chocolate liquor. European rules specify a minimum of 35% cocoa solids. Dark chocolate, with its high cocoa content, is a rich source of the flavonoids epicatechin and gallic acid , which are thought to possess cardioprotective properties. Dark chocolate has also been said to reduce the possibility of a heart attack when consumed regularly in small amounts. Unsweetened chocolate is pure chocolate liquor , also known as bitter or baking chocolate. It is unadulterated chocolate: the pure, ground, roasted chocolate beans impart a strong, deep chocolate flavor. Semisweet chocolate is often used for cooking purposes. It is a dark chocolate with a low sugar content. Bittersweet chocolate is chocolate liquor to which some sugar (typically a third), more cocoa butter, vanilla and sometimes lecithin have been added. It has less sugar and more liquor than semisweet chocolate, but the two are interchangeable in baking.
Chocolate Cupcakes!
All girls have to have a love affair with choclate..whats better then CHOCOLATE CUPCAKES!!??? YUMMY! You can find this and more on cooks.com!
MOIST CHOCOLATE CUPCAKES
1 1/2 cups flour1 cup sugar1 teaspoon baking soda
1 teaspoon salt
1/2 cup vegetable oil1 cup water
1 teaspoon vinegar
Mix all of the ingredients well with a mixer. It should be brown and smooth. Free of lumps.
Bake at 350°F for 25 minutes. Cupcakes will turn out moist and delicious.
Buttermilk or milk may be substituted for water. Melted butter may be substituted for oil.
Barbie
What girl has NOT owned a Barbie when they were kids? Heres the hisotry of Barbie adn how she came to be: You can find this and more on wikipedia.com!
Barbie is a best-selling fashion doll launched in 1959. The doll is produced by Mattel, Inc. , and is a major source of revenue for the company. The American businesswoman Ruth Handler (1916-2002) is regarded as the creator of Barbie, and the doll's design was inspired by a German doll called Bild Lilli .
Barbie has been an important part of the toy fashion doll market for nearly fifty years, and has been the subject of numerous controversies and lawsuits , often involving parody of the doll and her lifestyle. In recent years, Barbie has faced increasing competition from the Bratz range of dolls.
History:
Ruth Handler watched her daughter Barbara at play with paper dolls, and noticed that she often enjoyed giving them adult roles. At the time, most children's toy dolls were representations of infants. Realizing that there could be a gap in the market, Handler suggested the idea of an adult-bodied doll to her husband Elliot, a co-founder of the Mattel toy company. He was unenthusiastic about the idea, as were Mattel's directors.
During a trip to Europe in 1956 with her children Barbara and Kenneth, Ruth Handler came across German toy doll called Bild Lilli . [1] The adult-figured Lilli doll was exactly what Handler had in mind, so she purchased three of them. She gave one to her daughter and took the others back to Mattel. The Lilli doll was based on a popular character appearing in a comic strip drawn by Reinhard Beuthin for the newspaper Die Bild-Zeitung . Lilli was a working girl who knew what she wanted and was not above using men to get it. The Lilli doll was first sold in Germany in 1955, and although it was initially sold to adults, it became popular with children who enjoyed dressing her up in outfits that were available separately.
Upon her return to the United States , Handler reworked the design of the doll (with help from engineer Jack Ryan ) and the doll was given a new name, Barbie, after Handler's daughter Barbara. The doll made its debut at the American International Toy Fair in New York on March 9 , 1959 . This date is also used as Barbie's official birthday . Mattel acquired the rights to the Bild Lilli doll in 1964 and production of Lilli was stopped. The first Barbie doll wore a black and white zebra striped swimsuit and signature topknot ponytail , and was available as either a blonde or brunette . The doll was marketed as a "Teen-age Fashion Model," with her clothes created by Mattel fashion designer Charlotte Johnson. The first Barbie dolls were manufactured in Japan , with their clothes hand-stitched by Japanese homeworkers . Around 350,000 Barbie dolls were sold during the first year of production.
Ruth Handler believed that it was important for Barbie to have an adult appearance, and early market research showed that some parents were unhappy about the doll's chest, which had distinct breasts. Barbie's appearance has been changed many times, most notably in 1971 when the doll's eyes were adjusted to look forwards rather than having the demure sideways glance of the original model.
Barbie was one of the first toys to have a marketing strategy based extensively on television advertising , which has been copied widely by other toys. It is estimated that over a billion Barbie dolls have been sold worldwide in over 150 countries, with Mattel claiming that three Barbie dolls are sold every second.
The standard range of Barbie dolls and related accessories are manufactured to approximately 1/6th scale , which is also known as playscale.Barbie products include not only the range of dolls with their clothes and accessories, but also a huge range of Barbie branded goods such as books, fashion items and video games . Barbie has appeared in a series of animated films and makes a brief guest appearance in the 1999 film Toy Story 2 .
Almost uniquely for a toy fashion doll, Barbie has become a cultural icon and has been given honors that are rare in the toy world. In 1974 a section of Times Square in New York City was renamed Barbie Boulevard for a week, while in 1985 the artist Andy Warhol created a painting of Barbie.
Biography
Barbie's full name is Barbara Millicent Roberts. In a series of novels published by Random House in the 1960s, her parents' names are given as George and Margaret Roberts from the fictional town of Willows, Wisconsin . Barbie has been said to attend Willows High School and Manhattan International High School in New York City , based on the real-life Stuyvesant High School . She has an on-off romantic relationship with her beau Ken (Ken Carson), who first appeared in 1961. Like Barbie, Ken shares his name with one of Ruth Handler's children. A news release from Mattel in February 2004 announced that Barbie and Ken had decided to split up, but in February 2006 they were back together again.
Barbie has had over forty pets including cats and dogs , horses , a panda , a lion cub, and a zebra . She has owned a wide range of vehicles, including pink convertibles , trailers and jeeps . She also holds a pilot's license, and operates commercial airliners in addition to serving as a flight attendant . Barbie's careers are designed to show that women can take on a variety of roles in life, and the doll has been sold with a wide range of titles including Miss Astronaut Barbie (1965), Doctor Barbie (1988) and Nascar Barbie (1998).Mattel has created a range of companions for Barbie, including Hispanic Teresa, Midge , African American Christie and Steven (Christie's boyfriend). For more details, see the List of Barbie's friends and family .
Contorversies
Barbie's popularity ensures that her effect on the play of Western children attracts a high degree of scrutiny. The criticisms leveled at her are often based on the assumption that children consider Barbie a role model and will attempt to emulate her.
In September 2003 the Middle Eastern country of Saudi Arabia outlawed the sale of Barbie dolls, saying that she did not conform to the ideals of Islam . The Committee for the Propagation of Virtue and Prevention of Vice stated "Jewish Barbie dolls, with their revealing clothes and shameful postures, accessories and tools are a symbol of decadence to the perverted West. Let us beware of her dangers and be careful."In Middle Eastern countries there is an alternative doll called Fulla which is similar to Barbie but is designed to be more acceptable to an Islamic market. Fulla is not made by the Mattel Corporation, and Barbie is still available in other Middle Eastern countries including Egypt . In Iran , Sara and Dara dolls are available as an alternative to Barbie.
The word Barbie has come to be used as a derogatory slang term for a girl or woman who is considered shallow, most notably in the 1997 pop song Barbie Girl (see Parodies and lawsuits below).
In July 1992 Mattel released Teen Talk Barbie, which spoke a number of phrases including "Will we ever have enough clothes?", "I love shopping!", and "Wanna have a pizza party?" Each doll was programmed to say four out of 270 possible phrases, so that no two dolls were likely to be the same. One of these 270 phrases was " Math class is tough!" Although only about 1.5% of all the dolls sold said the phrase, it led to criticism from the American Association of University Women . In October 1992 Mattel announced that Teen Talk Barbie would no longer say the phrase, and offered a swap to anyone who owned the doll.
One of the most common criticisms of Barbie is that she promotes an unrealistic idea of body image for a young woman, leading to a risk that women who attempt to emulate her will become anorexic . A standard Barbie doll is 11.5 inches tall, giving a height of 5 feet 9 inches at 1/6 scale . Barbie's vital statistics have been estimated at 36 inches (chest), 18 inches (waist) and 33 inches (hips). According to research by the University Central Hospital in Helsinki , Finland , she would lack the 17 to 22 percent body fat required for a woman to menstruate . [13] In 1965 Slumber Party Barbie came with a book entitled How to Lose Weight which advised: "Don't eat." The doll also came with pink bathroom scales reading 110lb, which would be around 35lbs underweight for a woman 5 feet 9 inches tall. In 1997 Barbie's body mold was redesigned and given a wider waist, with Mattel saying that this would make the doll better suited to contemporary fashion designs.
Oreo Fun Barbie from 1997 became controversial due to a negative interpretation of the doll's name
"Colored Francie " made her debut in 1967, and she is sometimes described as the first African American Barbie doll. However, she was produced using the existing head molds for the white Francie doll and lacked African characteristics other than a dark skin. The first African American doll in the Barbie range is usually regarded as Christie, who made her debut in 1968 Black Barbie and Hispanic Barbie were launched in 1980.
In 1997 Mattel joined forces with Nabisco to launch a cross-promotion of Barbie with Oreo cookies . Oreo Fun Barbie was marketed as someone with whom little girls could play after class and share "America's favorite cookie." As had become the custom, Mattel manufactured both a white and a black version. Critics argued that in the African American community Oreo is a derogatory term meaning that the person is "black on the outside and white on the inside," like the chocolate sandwich cookie itself. The doll was unsuccessful and Mattel recalled the unsold stock, making it sought after by collectors.
In May 1997 Mattel introduced Share a Smile Becky, a doll in a pink wheelchair . Kjersti Johnson, a 17-year-old high school student in Tacoma, Washington with cerebral palsy , pointed out that the doll would not fit into the elevator of Barbie's $100 Dream House. Mattel announced that it would redesign the house in the future to accommodate the doll.
In March 2000 stories appeared in the media claiming that the hard vinyl used in vintage Barbie dolls could leak toxic chemicals, causing danger to children playing with them. The claim was rejected as false by technical experts. A modern Barbie doll has a body made from ABS plastic, while the head is made from soft PVC .
In December 2005 Dr. Agnes Nairn at the University of Bath in England published research suggesting that girls often go through a stage where they hate their Barbie dolls and subject them to a range of punishments, including decapitation and placing the doll in a microwave oven . Dr. Nairn said: "It's as though disavowing Barbie is a rite of passage and a rejection of their past."
Collecting:
Mattel estimates that there are well over 100,000 avid Barbie collectors. Ninety percent are women, at an average age of 40, purchasing more than twenty Barbie dolls each year. Forty-five percent of them spend upwards of $1000 a year.
Vintage Barbie dolls from the early years are the most valuable at auction , and while the original Barbie was sold for $3.00 in 1959, a mint boxed Barbie from 1959 sold for $3552.50 on eBay in October 2004. On September 26 , 2006 , a Barbie doll set a world record at auction of £9,000 sterling (US $17,000) at Christie's in London . The doll was a Barbie in Midnight Red from 1965 and was part of a private collection of 4,000 Barbie dolls being sold by two Dutch women, Ietje Raebel and her daughter Marina.
In recent years Mattel has sold a wide range of Barbie dolls aimed specifically at collectors, including porcelain versions and depictions of Barbie as a range of characters from television series such as The Munsters and Star Trek .There are also collector's edition dolls depicting Barbie dolls with a range of different ethnic identities.In 2004 Mattel introduced the Color Tier system for its collector's edition Barbie dolls, ranging through pink, silver, gold and platinum depending on how many of the dolls are produced.
Colors!!
Fashion deals with color! Color represent mood and personality! I went on digitalskratch.com to find out what colors really mean.
Color plays such an important role in our lives whether we realize it or not. It has the ability to influence our feelings and emotions in a way that few other mediums can. It can control our moods and thoughts. Color has the ability to make us feel happy, depressed, excited, relaxed, hungry and creative.
We are faced with color choices all the time wither we realize it or not. The first crucial decision of the day usually comes in the morning when decide what to wear. Often times we will pick our clothes out based on the color of the mood we are feeling or wish to portray that day. The colors that we choose to show the world are often a direct reflection of personality.
Colors have a deep subliminal meanings that effects our thinking and rational. They have symbolic meaning that changes amongst cultures and countries. As a result of this color research and planning is a vital part of the design process. Before one can even begin a design or marketing campaign they must choose the appropriate colors that are both effective to there message and also compliment each other.
Colors are a part of our pop-culture. We associate our favorite sports team by their team colors. Red Sox, White Sox, Cleveland Browns, Duke Blue Devils among a few teams to incorporate a color into their name. Colors have become a part of our every day vocabulary; “Canary Yellow” “Carolina Blue” “John Deer Green” “Fire Engine Red”.
There are the three primary colors of Red, Yellow and Blue. Then there are secondary colors of Green, Orange and Purple. Additionally there are Tertiary colors that are combinations of the first two sets. Complimentary colors are opposite each other on the color wheel and often evoke feelings of excitement. Analogous colors are those that are close to each other on the color wheel. These give a particular feeling wither it be warm and cozy or cold and depressing.
There are many different technical aspects when it comes to working with colors. In the print world Pantone and CMYK are the color formats, while online RGB and Hexadecimal is the medium. Because of this it is important that both the web and graphic designers work closely on the color process to make sure their colors transfer smoothly from one medium to another. A color may look one way on a particular screen but when printed out it looks totally different. It is important to come up with a color palate listing all of the different color codes that will ensure a unified color scheme throughout print and web.
Red is a very strong color. It is a noticeable color that is often used on caution and warning signs. It is often associated with stop or “beware”. It’s a hot color that evokes a powerful emotion of passion, lust, sex, energy, blood and war. Red is a good color to use for accents that need to take notice over other colors. Red is often used in flags for nations, as it is a symbol of pride and strength. It is also a sporty color that many car manufactures choose to showcase their signature vehicles in.
Orange is a combination of Red and Yellow. It is also a bright and warm color. It represents fire, the sun, fun, warmth and tropical images. It is considered a fun light color that has appetizing qualities to it. Orange increases oxygen supply to the brain and stimulates mental activity. It is highly accepted among young people. As a citrus color, orange is associated with healthy food and stimulates appetite. Any design relating to the tropics, something fun, easy going and youthful should incorporate some type of orange into the design. A darker, richer shade of orange can be associated with autumn.
Yellow is the brightest color to the human eye. It represents youth, fun, happiness, sunshine and other light playful feelings. It is a cheerful energetic color. Yellow is often used for children’s toys and clothes. Yellow is often hard to read when placed on a white background so designers must be careful when using yellow that it isn't’t too hard to read or notice. Though yellow is a bright cheerful color as it starts to darken it however quickly becomes a dirty and unpleasant color. Yellow can also be associated with being scared and cowards. The term “yellow belly” is proof of that.
Green is the color of nature and health. It represents growth, nature money, fertility and safety. Green is a relaxing color that is easy on the eye and has a healing power to it. It is often used to represent anything having to do with health. Many pharmaceutical and nutritional companies use green in their logos and material to advertise safe natural products. Dark green is commonly associated with the military, money, the financial and banking. However it can also be associated with being new or inexperienced as being green or a “green horn”. Green is becoming a very popular color in design for web site's.
Blue is a cool calming color that shows creativity and intelligence. It is a popular color among large corporations, hospitals and airlines. It is a color of loyalty, strength, wisdom and trust. Blue has a calming effect on the psyche. Blue is the color of the sky and the sea and is often used to represent those images. Blue is a color that generally looks good in almost any shade and is a popular color among males. Blue is not a good color when using it for food as there are few blue foods found in nature and suppresses the appetite.
Purple combines the stability of blue and the energy of red. Throughout history purple has been associated with royalty, nobility and prestige. It symbolizes mystery, magic, power and luxury. Purple is often used to portray rich powerful kings, leaders, wizards and magicians. Purple combined with gold can be flashy and portray wealth and extravagance. Light purple and pink is good for a feminine design and is a popular color among teenage girls. Bright purple along with yellow is commonly used in promoting children's products. It gives the appearance of something that is fun and easy to do.
Black is often a color used to portray something evil, depressing, scary or even death in the western civilization. It has negative imagery with it at times such as “black mail” “black list” “black hole” etc. Black is also a very powerful color that also portrays one of class elegance and wealth. Many classy clothing is designed in black from the “power suit” to the “sexy black dress” to formal “black-tie attire”. Black combined with other colors can have a very strong statement. Black is a color that can fit into almost every design to add contrast, type and make the other colors stand out more.
White is often associated with being pure, clean, fresh and good. The color of a fresh snowstorm brings up images of a peaceful and pure winter scene.
White is a common background for Webster's as it is easy to read black or dark text on it. When used with a design using lots of negative space it gives a very clean look to it. White is also used lots for charities and non-profit organizations to denote something good and positive. Hollywood often portrays their characters in white as being good; the white horse, the cowboy with the white hat, the white wizard etc. White usually is associated with being pure and almost heavenly. White is associated with hospitals, doctors, angles, heaven.
History Of Vogue Magazine
I LOVE reading Vogue magazine..it gives you the updates and information about the fashion industry! I went on wikipedia.com to find out the magazines history!
History
Vogue was described by book critic Caroline Weber in The New York Times in December 2006 as the world's most influential fashion magazine :
"Vogue is to our era what the idea of God was, in Voltaire’s famous parlance, to his: if it didn’t exist, we would have to invent it. Revered for its editorial excellence and its visual panache, the magazine has long functioned as a bible for anyone worshiping at the altar of luxury, celebrity and style. And while we perhaps take for granted the extent to which this trinity dominates consumer culture today, Vogue’s role in catalyzing its rise to pre-eminence cannot be underestimated."
Vogue was founded by Arthur Baldwin Turnure in 1892. When he passed away in 1909, Conde Nast picked it up and slowly began growing the publication. Today, there are different editions of Vogue published around the world: Australia , Brazil , China , France , Germany , Greece , India , Italy , Japan , Korea , Mexico , Portugal , Russia , Spain , Switzerland , Taiwan , United Kingdom and the United States . Under the ownership of New York-based magazine publisher Condé Nast and through a succession of women editors, Vogue is most famous as a presenter of images of high fashion and high society, but it also publishes writings on art, culture, politics, and ideas. On the way, it has helped to enshrine the fashion model as celebrity . Vogue is regularly criticized, along with the fashion industry it writes about, for valuing wealth, social connections, and low body weight over more noble achievements. The magazine celebrated its 114th birthday in 2006.
The magazine surged in subscriptions during the Depression and World War II , a period during which noted critic and former Vanity Fair editor Frank Crowninshield served as its editor, having been moved over from Vanity Fair by publisher Condé Nast .
1960s
In the 1960s, with editor in chief and personality Diana Vreeland in charge, the magazine rose to the occasion of this candy-colored, youth-oriented decade of sexual revolution by focusing more on the fashions of the times, through daringly playful, theatrical, and straightforwardly sexual editorial features. Vogue also continued making household names out of models, a practice that continued with Suzy Parker , Twiggy , Penelope Tree , and others. [3]
1970s-1980s
Under the tenure of editor-in-chief Grace Mirabella through the 1970s and 1980s, the bimonthly magazine became a monthly, and the revolutionary air of the sixties gave way to more practical clothing. The magazine's female audience was no longer in the kitchen dreaming of a better life. It was heading out every morning for work, and editorial changes reflected this new reality.
Present day
The current editor-in-chief of American Vogue is Anna Wintour , noted for her trademark bob and her practice of wearing sunglasses indoors. Since taking over in 1988, Wintour has worked to protect the magazine's No. 1 status among fashion publications in term of reputation. In order to do so, she brought the magazine down from what Time called "its Olympian heights, acknowledging that trends are as likely to start from the ground as be decreed from on high."This allowed Wintour to keep a high circulation while discovering new trends that a broader audience could conceivably afford. For example, the inaugural cover of the magazine under Wintour's editorship featured a three-quarter-length photograph of a model wearing a bejeweled Christian Lacroix jacket and a pair of jeans , departing from her predecessors' tendency to portray a woman’s face alone, which according to the Times' Weber, gave "greater importance to both her clothing and her body. This image also promoted a new form of chic by combining jeans with haute couture. Wintour’s debut cover brokered a class-mass rapprochement that informs modern fashion to this day."
Wintour's Vogue also aggressively nurtures new design talent, and her presence at fashion shows is often taken as an indicator of the designer's profile within the industry. In 2003, she joined the Council of Fashion Designers of America in creating a fund that provides money and guidance to at least two emerging designers each year. This has built loyalty among the emerging new star designers, and helped preserve the magazine's dominant position of influence through what Time called her own "considerable influence over American fashion. Runway shows don't start until she arrives. Designers succeed because she anoints them. Trends are created or crippled on her command.
The contrast of Wintour's vision with her predecessor has been noted as striking by observers, from both her critics and defenders. Amanda Fortini, fashion and style contributor to Slate argued that "during her tenure, Vogue has been enormously successful":
[W]hen Wintour was appointed head of Vogue, Grace Mirabella had been editor in chief for 17 years, and the magazine had grown complacent, coasting along in what one journalist derisively called "its beige years." Beige was the color Mirabella had used to paint over the red walls in Diana Vreeland's office, and the metaphor was apt: The magazine had become boring. Among Condé Nast executives, there was worry that the grand dame of fashion publications was losing ground to upstart Elle, which in just three years had reached a paid circulation of 851,000 to Vogue's stagnant 1.2 million. And so Condé Nast publisher Si Newhouse brought in the 38-year-old Wintour—who, through editor in chief positions at British Vogue and House & Garden, had become known not only for her cutting-edge visual sense but also for her ability to radically revamp a magazine—to shake things up.
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Criticism
As Wintour came to personify the magazine's image, she and Vogue drew critics. Wintour's one-time assistant at the magazine, Lauren Weisberger , authored a roman à clef entitled The Devil Wears Prada , a best-selling novel published in 2003 which was made into a highly successful, Academy Award -nominated film in 2006. The central character resembled Weisberger, and her boss was a powerful editor-in-chief of a fictionalized version of Vogue. The novel portrays a magazine ruled by "the Antichrist and her coterie of fashionistas, who exist on cigarettes, Diet Dr. Pepper, and mixed green salads", according to a review in the New York Times. The editor who personifies the magazine she runs is described by Weisberger as being "an empty, shallow, bitter woman who has tons and tons of gorgeous clothes and not much else". However, the success of both the novel and the film have brought new attention from a wide global audience to the power and glamor of the magazine, and the industry it continues to lead.
Queen Elizabeth The 1st
Queen Elizzabeth the 1st is someone who I look up too. She RULED England by herself and did a FANTASTIC job at it WITHOUT a king by her side. She proves to all women around the world that they can be successfull WITHOUT a Man!! Here are some quotes and information on her wardrobe that I found on Elizabethi.org
QUOTES:
Here lands as true a subject, being prisoner, as ever landed at these stairs. Before Thee, O God, I speak it, having none other friend but Thee alone
Much suspected by me, Nothing proved can be.
I have already joined myself in marriage to a husband, namely the kingdom of England
Better beggar woman and single than Queen and married.
I have no desire to make windows into mens souls
It would please me best if, at the last, a marble stone shall record that this Queen having lived such and such a time, lived and died a virgin.
With your head and my purse I could do anything.
will have here but one mistress and no master.
You are like my little dog; when people see you, they know I am nearby.
I know I have the body of a weak and feeble woman, but I have the heart and stomach of a king.
THE QUEENS WARDROBE:
Queen Elizabeth was a great follower of fashion. While in private she preferred to wear simple gowns, and would reputedly wear the same plain gown for two or three days, when she was in public, she dressed to impress. Clothes were an important status symbol to the Elizabethans, and a person had to dress in accordance with their social status. It was thus in keeping that the Queen dressed more magnificent than everyone else. No one was allowed to rival the Queen's appearance, and one unfortunate maid of honor was reprimanded for wearing a gown that was too sumptuous for her. The maids were meant to complement the Queen's appearance, not to outshine her. In the later years of the reign, the maids wore gowns of plain colors such as white or silver.
The Queen had dresses of all colors, but white and black were her favorite colors as they symbolized virginity and purity, and more often than not she wore a gown of these colors. The Queen's gowns would be gorgeously hand embroidered with all sorts of colored thread, and decorated with diamonds, rubies, sapphires, and all kinds of jewels. A book entitled Queen Elizabeth's wardrobe unlocked, details some of the jewels that fell off the Queen's gowns when she wore them.
Like all aristocratic Elizabethan women, the Queen would typically wear a chemise, a corset stiffened with wood or iron, a petticoat, a fathingale, stockings, a gown, sleeves, and a neck ruff and wrist ruffs. With the discovery of starch, ruffs became even more elaborate.
Queen Elizabeth's coreset adn undergarments: To complete her appearance, the Queen would wear accessories such as a fan, a pomander to ward of foul smells and it was thought infection, earrings, a diamond or pearl necklace, a brooch and a watch. Robert Dudley gave her a watch encased in a bracelet, the first known wrist watch in England. Like other women, she would also often wear a miniature Prayer Book attached to her girdle.
For the outdoors, the Queen would wear rich velvet cloaks, gloves of cloth or leather, and in warm weather, she would wear hats to shelter her pale face from the sun. For riding or hunting she would wear special riding outfits that gave easier movement. She would also wear boots such as these.
The Queen was never fully dressed without her make-up. In the early years she wore little, but following her attack of the smallpox in 1562, she would wear quite a lot to cover up the scars left on her face. She would paint her face with white lead and vinegar, put rouge on her lips, and paint her cheeks with red dye and egg white. This make-up was very bad for her health, particularly the white lead, as it slowly poisoned the body. While the Elizabethan tried very hard to take care of their teeth, and knew that to keep them clean was to keep them healthy, they did not have very sophisticated dental care, and teeth rotted. As a consequence, Elizabeth had to have several teeth removed as she grew older. To prevent the appearance of hollow cheeks, she would stuff rags into her mouth. It was very fashionable to wear a wig, and the Queen did so from a young age.
The Queen had a substantial influence on the fashion of her time, and encouraged her courtiers to dress well.
High Heels
I am addicted to wearing highheels..they can make any girl feel sexier and taller! I was interested in how high heels are made so I went to Answers.com to find out how:
Background
Shoe height has historically reflected nobility, authority, and wealth. France's King Louis XIV (1638-1715) was only 5 ft 3 in (1.6 m) tall until he donned specially-made high-heeled shoes with curved heels constructed of cork and covered with red-dyed leather, with the red color symbolizing nobility. On special occasions, his 5 in (12.7 cm) high heels were ornamented with hand-painted scenes of his military victories. Today, curved heels preserve his legacy and are known as Louis or French heels . Other heel-wearers used their footwear to boast of their wealth; the heels were so high that servants had to break them in, so to wear high heels also proved one could afford servants for this task.
Today, heels are blessed for the elegance they lend to the wearer's appearance and cursed for the damage they inflict on ankles, calves , and backs.
History
The need to gain height above the ground may have originally been inspired by the weather and street conditions rather than money or vanity. During medieval times, special wooden soles called pattens were attached to the bottoms of fragile, expensive shoes made for wearing indoors so they could be kept out of the mud and damp when converted for outdoor use. Pattens were elevated in the heels and under the ball of the foot so the wearer could walk more easily by rocking forward on them; these shapes clearly foretold of high heels.
The entire shoe was elevated in the style called the chopine that originated in Turkey in about 1400. These shoes were effectively miniature stilts that were flat on the bottom and made of cork and covered with leather or fabric. The wearer slipped her feet into the tops that were open-backed slippers called mules or straps similar to sandals. Chopines were typically 7-8 in (18-20 cm) high, but, in the extreme, they were as much as 18 in (46 cm) tall. Chopines kept the wearer's skirts out of the mud, assuming the lady could walk at all. When the style became fashionable in sixteenth century Venice, chopineshod ladies walked with a servant on either side of them so they wouldn't fall. The ladies loved the attention and the additional height, but chopines were so restrictive that women were also forced by their footwear to stay at home. The 18 in (46 cm) extreme was reached in France and England where the fashion spread from Italy.
Catherine de Medici (1519-1589) is credited with wearing the first true high heels and with taking the style to France in 1533 when she married the Duc d'Orleans, who was to become France's King Henry II. Italian designers created the high heel by modifying the chopine to eliminate its awkwardness while still raising the height of the wearer. A cork wedge was placed under the front of the shoe, with a high section under the heel. These high heels served vanity another way by making the feet appear smaller and the arch of the foot higher; both of these physical attributes were considered signs of noble birth. Catherine's Italian style was quickly adopted by the French court.
The French Revolution caused a revolution in footwear as well, and many shoe fashions vanished temporarily in the name of democracy. The red heels of the nobility disappeared completely, and showy buckles and rosettes were replaced by ribbon or cord ties. Flat shoes or very low-heeled shoes known as pumps replaced the arrogance of high heels, although high-heeled shoes and boots were restored to respectability by the mid-1800s.
Until high heels were invented, shoe soles for the left and right feet were identical and were called straights; shoes were formed on a single mold , called a last, for both feet. Shoes were bought not as a pair but as two single shoes of matching size and style. The arch shape of high heels, however, required different soles for the two feet, so, from 1818 onward, lasts were designed specifically for the left and right foot, and shoes were sold in pairs. Early pairs of shoes were termed crookeds, as opposed to the old-fashioned straights. The high-heel portions were originally made of wood or cork and were up to 6 in (15 cm) high. The French called them chaussures a port or bridge shoes, because of the open arch, or chaussures a cric, meaning clicking shoes for their sound. Usually, heels on men's shoes were larger in shape and heavier. The extreme heights of narrow heels were popular among gentlemen as well as ladies, and eighteenth century Englishmen who wore 6 in (15 cm) high heels usually walked with canes to be able to walk at all.
After World War II, the high heel regained its popularity primarily because of the growth in consumer spending and the variety and availability of designs produced. Stiletto heels, named for the narrow-bladed knives, soared into fashion in the 1950s. These 4 in (10 cm) spiked heels narrowed to pinpoints; they were made possible by seating a thin metal rod in the broader part of the wood or plastic heel that was attached to the shoe. A plastic tip was attached to the metal end, but these tips often fell off causing floors to be gouged and carpets to be ripped. Some office buildings provided overshoes for women to wear over their stiletto heels to prevent this damage. In the 1960s, stiletto heels were attached to 'wet-look' boots that enhanced the effects of miniskirts. Today's designers experiment with every material and type of ornamentation to create and embellish high heels. Heels have even been made of the lightweight aluminum used to manufacture airplane fuselage to give them strength in slender shapes.
Raw Materials
Raw materials for the manufacture of high heels include plastic, leather, wood, fabric, animal hides, paper (for patterns and labels), and various cements and glues, depending on the component materials. Nails, screw nails, and tacks are used to hold fabric or leather in place and to attach heels to the shank of the shoe. Fabric and feathers, tree branches and sequins, faux pearls, and genuine diamonds have all been used to decorate high heels.
Design
High-heel designers may be employed by the shoe manufacturer, or, more likely, are independent designers (sometimes connected to well-known fashion houses) who contract with the manufacturer to produce designs or lines of shoes bearing the designer's name. Designers work very closely with the master shoemaker who oversees the practicality of all designs for the shoe manufacturer. The designer may have an image or style to convey and a particular choice of materials, and the master shoemaker tells the designer what can be made or what production limitations are involved in the design. For example, the height of the heel may be restricted by the overall shape of the shoe or the number of stitches needed to make the shoe may affect its finished appearance (or may be impractical to manufacture). The designer and master shoemaker exchange ideas over the course of several months before they arrive at a satisfactory design.
One shoe is then made as a prototype; it is dissected into its various pieces and parts, and a pattern is made of paper. From the paper original, a master template is made of fiberboard and piped in copper so it will wear well. The fiberboard master represents the average size 8 shoe. From this master, a pantograph (a drawing tool that makes an exact copy of an outline but in a smaller or larger size) is used to outline masters on fiberboard for all other sizes in the range offered by the manufacturer in the new design. Metal dies are made to stamp out pieces in all these sizes, and the assembly line is set up to manufacture the new design. Alternatively, components of designs can be measured and scaled by computer, and the data are used to cut pieces with lasers controlled by the computer. The completed designs and templates are copyrighted and registered by the designer and manufacturer.
The ManufacturingProcess
Handmade high heels
Although most shoes today are mass-produced, handcrafted shoes are still made on a limited scale especially for performers or in designs that are heavily ornamented and expensive. The hand manufacture of shoes is essentially the same as the process dating back to ancient Rome. The length and width of both of the wearer's feet are measured. Lasts—standard models for feet of each size that are made for each design—are used by the shoemaker to shape the shoe pieces. Lasts need to be specific to the design of the shoe because the symmetry of the foot changes with the contour of the instep and distribution of weight and the parts of the foot within the shoe. Creation of a pair of lasts is based on 35 different measurements of the foot and estimates of movement of the foot within the shoe. Shoe designers often have thousands of pairs of lasts in their vaults.
The pieces for the shoe are cut based on the design or style of the shoe. The counters are the sections covering the back and sides of the shoe. The vamp covers the toes and top of the foot and is sewn onto the counters. This sewn upper is stretched and fitted over the last; the shoemaker uses stretching pliers to pull the parts of the shoe into place, and these are tacked to the last. Soaked leather uppers are left on the lasts for two weeks to dry thoroughly to shape before the soles and heels are attached. Counters (stiffeners) are added to the backs of the shoes.
Leather for the soles is soaked in water O so that it is pliable . The sole is then cut, placed on a lapstone, and pounded with a mallet . As the name suggests, the lapstone is held flat in the shoemaker's lap so he can pound the sole into a smooth shape, cut a groove into the edge of the sole to indent the stitching, and mark holes to punch through the sole for stitching. The sole is glued to the bottom of the upper so it is properly placed for sewing . The upper and the sole are stitched together using a double-stitch method in which the shoemaker weaves two needles through the same hole but with the thread going in opposite directions.
Heels are attached to the sole by nails; depending on the style, the heels may be constructed of several layers. If it is covered with leather or cloth, the covering is glued or stitched onto the heel before it is attached to the shoe. The sole is trimmed and the tacks are removed so the shoe can be taken off the last. The outside of the shoe is stained or polished, and any fine linings are attached inside the shoe.
Machine-made high heels
The design developed by the master shoemaker and designer can be mass-produced from the components committed to fiberboard masters or from computerized data. If metal dies are used to cut the pieces, leather (or other material) is fed into a 20-ton (18-metric-ton) press that has been equipped with one or more dies, and the pieces are punched out. The process is even more simplified when a computer-controlled laser beam is used to cut the pieces out.
When all the components are cut out, the material is drawn into a machine equipped with a number of lasts. The machine pulls the piece of material tightly over the last, and thermal cement is used to hold it together temporarily. Before synthetic adhesives were widely available, tacks were used exclusively. Now, only a few tacks may be needed along with the adhesives. High heels are made in three separate sections—the sole, the upper, and the heel. When the components have been assembled or stitched by computer-controlled machines into each of these three sections, the sections are conveyed to another machine for assembly. Strong cement is used to bond them together, and they may be put in a press for approximately 15 seconds to press the cemented pieces firmly.
The heel itself may be attached to the shank of the shoe using nails, screw nails, tacks, cement, staples, or sets of molded prongs (or some combination), depending on the style of the shoe, the height of the heel, the materials used in construction, and other factors including cost. Nine out of 10 heels are made of plastic and covered with material to match or compliment the shoe uppers. Plastic is used because it is light-weight and inexpensive.
After the sections are bonded to make the finished shoe, labels and stamped size notations are added to the insides of the shoes. The completed pair of heels is stuffed and wrapped with tissue paper and put in an appropriately labeled box. Cartons of boxes of the same style of shoe are packaged and prepared for shipment to the retailer.
Quality Control
Although the mass-production of high heels is now done largely by machine, quality control personnel oversee all aspects of design and production. Materials are carefully inspected when they are received so that imperfect leathers, badly dyed fabrics, and other faulty items can be returned to suppliers immediately. Components that may be made by outside suppliers, such as wooden heels, are also inspected and accepted or rejected. During an initial production trial, the sections cut and assembled by computer are compared to design details and examined for flaws. When production is approved, quality control engineers also monitor all facets of production and spot-check components and completed sections and shoes. Testing laboratories are also used to evaluate the quality of materials before they are incorporated in the construction of shoes and for testing the durability of finished models in the prototype stage. Depending on the style, finished shoes may be polished or treated, and these steps are also carefully inspected. Boxed shoes may be opened and randomly checked before shipment.
Byproducts/Waste
The use of computer-aided design and precise machines such as lasers has greatly limited the waste from shoe production. The waste that does result must be disposed and may contain synthetic adhesives and other materials that prevent recycling . Plastic waste can be remolded.
Byproducts usually do not result from the manufacture of high heels, but makers often market matching products like handbags. By fitting pieces from several types and sizes of product onto a single piece of leather, for example, waste is further reduced.
The Future
Although high heels may be considered a modern fashion statement, their history proves that they have existed for centuries and will continue to do so. Wearers have followed King Louis XIV s example and have seen that heels can enhance height and flatter appearance. The heights and styles may change from season to season, but the high heel in some form is sure to be part of fashion's future.
Coco Chanel
People know that Chanel is one of the TOP fashion power houses in the world. However, what people don't know is the woman who started it all. Read this and find out about who she is and how she changed the world of fashion!
Gabrielle Bonheur "Coco" Chanel ( August 19 , 1883 – January 10 , 1971 ) was a pioneering French fashion designer whose modernist philosophy, menswear-inspired fashions, and pursuit of expensive simplicity made her arguably the most important figure in the history of 20th-century fashion . Her influence on haute couture was such that she was the only person in the field to be named on TIME Magazine's 100 most influential people of the 20th century .
The Chanel Empire:
Gabrielle "Coco" Chanel's stylish, elegant designs revolutionized fashion during the 1910s, freeing women from the uncomfortable and stiff apparel worn at the end of the 19th century. Chanel furthered her own image: the woman of the 20th century, embodying independence, success, personality, style, and confidence.
The influential Chanel suit, launched in 1924, was an elegant outfit composed of a knee-length skirt paired with a trim, boxy jacket, traditionally made of woven wool with black trim and gold buttons and worn with large costume-pearl necklaces.
Chanel also popularized the little black dress , whose blank-slate versatility allowed it to be worn for both day and night.
The black Chanel dress was strapless, backless and more than a little risque. It shocked the general public at large but quickly became a fashion sensation. The Chanel dress premiered in the third ever edition of Playboy. This added to the controversy surrounding the Chanel.
Much imitated over the years, Chanel's designs were manufactured across more price categories than any other in the high-fashion world.
It was Chanel who also introduced 'costume' jewellery to the world of fashion, using a variety of accessories such as necklaces, chains or pearls of several strands. A bag with golden handles, an elegant pearl necklace, a tailleur dressed in black are the symbols of elegance and status that marked forever the history of fashion.
But it was Chanel No. 5 - considered the number-one selling perfume in the world - which helped her become a millionaire. The perfume was created in 1921 by Ernest Beaux at the request of Chanel, who said about the perfume that it was "a woman's perfume with the scent of woman." Its Art Deco bottle was incorporated into the permanent collection at the Museum of Modern Art in New York in 1959. Chanel No. 5 was the first synthetic perfume to take the name of a designer. One of Coco Chanel's most famous quotes is, "This perfume is not just beautiful and fragrant. It contains my blood and sweat and a million broken dreams."
All of her clothes were emblazoned with the famous Chanel symbol; this, however, was not of her own design. The symbol was given to her by the owner of the Chateau de Cremat (a Chateau on the outskirts of Nice in the south of France).
In 1923, she told Harper's Bazaar that "simplicity is the keynote of all true elegance." Chanel always kept the clothing she designed simple and comfortable and revealing. She took what were considered poor fabrics like jersey and upgraded them.
She was instrumental in helping to design the image of the 1920's flapper (The term flapper in the 1920s referred to a "new breed" of young women who wore short skirts, bobbed their hair, listened to new Jazz music, and flaunted their disdain for what was then considered acceptable behavior.
The flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles,showing a lot of skin, and otherwise flouting conventional social and sexual norms).
The German designer Karl Lagerfeld is, since 1983, the art director of Chanel, both for the haute couture and prêt-à-porter
Later Years:
In 1939, at the beginning of the Second War, the designer decided to close her shops. She believed that it was not a time for fashion. She took up residence in the Hôtel Ritz Paris and for more than 30 years, Gabrielle Chanel made this hotel her home, even during the Nazi occupation of Paris. During that time she was criticized for having an affair with Hans Gunther von Dincklage, a German officer and spy who arranged for her to remain in the hotel.She also maintained an apartment above her Rue Cambon couture house and built Villa La Pausa in the town of Roquebrune on the French Riviera . In 1945 , she moved to Switzerland , eventually returning to Paris in 1954 , the year in which she also returned to the world of fashion.
Her new collection did not have much success with the Parisians, as a result of her relationship with the Nazi spy. However, it was much applauded by the Americans, who had become her most popular buyers.
Coco Chanel died in Paris on January 10 , 1971 , 87 years old, in her private suite at the Hotel Ritz, and she was buried in Switzerland. Her tombstone is carved with stone lion heads representing her birth sign, Leo
Marilyn Monroe Fun Facts!
Marilyn Monroe was not only a fashion icon but also a famous actress whos legendary work still lives on today. I found some fun facts about Marilyn on marilynmonroe.com!
FUN FACTS!
Birth Name: Norma Jeane MortensonAlso Known As: Norma Jeane Baker
Birth date: June 1, 1926 Birth place: Los Angeles, CADeath date: August 5, 1962
Death place: Brentwood, CABurial location: Corridor of Memories, #24, at Westwood Memorial Park in Los Angeles, CA
Height: 5 feet 5 1/2 inchesWeight: Varied, 115 - 120 lbs.
Measurements: 37-23-36 (Studio's Claim); 35-22-35 (Dressmaker's Claim)
Hair color: BlondEyes: BlueHigh schools: Van Nuys High School; University High School
Occupations: Model, Actress, SingerMother: Gladys Baker
Half-brother: Hermitt Jack Baker Half-sister: Berniece
MiracleMarriages: Jimmy Dougherty (1942-1946); Joe DiMaggio (1954); Arthur Miller (1956-1961)
Stepchildren: Joe DiMaggio, Jr., Jane and Robert MillerDid you know?
In 1999, Marilyn was named the Number One Sex Star of the 20th Century by Playboy magazine
In 1999, Marilyn was voted the 'Sexiest Woman of the Century' by People Magazine.
Issued on June 1, 1995, Marilyn was featured on a 32¢ US commemorative postage stamp.
Elton John recorded the song "Candle in the Wind" as a tribute to Marilyn Monroe.
In December 1953, she was the Playboy "Sweetheart" of the Month.
In February 1953, Marilyn was named the “The Most Advertised Girl in the World” by the Advertising Association of the West.
She was crowned Miss California Artichoke Queen in 1947.
In 1946, she began using the stage name Marilyn Monroe, but did not legally change her name until February 23, 1956.
Marilyn Monroe married Joe DiMaggio in San Francisco City Hall.
Marilyn Monroe was nominated for the 1956 British Academy Award for "Best Foreign Actress" in the Seven Year Itch.
AND HERE ARE SOME OF HER QUOTES!
"I knew I belonged to the public and to the world, not because I was talented or even beautiful, but because I had never belonged to anything or anyone else."
"There was my name up in lights. I said, 'God, somebody's made a mistake.' But there it was, in lights. And I sat there and said, 'Remember, you're not a star.' Yet there it was up in lights."
"I'm going to be a great movie star some day."
CAREER HIGHLIGHTS!
Playboy "Sweetheart" of the Month (December 1953)
Started own production company, Marilyn Monroe Productions (1955)
Awards:Golden Globe for "Female World Film Favorite 1954"
Nomination for Best Foreign Actress, 1956
British Academy Awards ("The Seven Year Itch") Nomination for Best Foreign Actress, 1958 British Academy Awards ("The Prince and the Showgirl")
David Di Donatello Prize for Best Foreign Actress ("The Prince and the Showgirl," 1959)
Crystal Star Award for Best Foreign Actress ("The Prince and the Showgirl," 1959) Golden Globe for Best Actress in a Comedy ("Some Like It Hot," 1960)
Golden Globe for "Female World Film Favorite 1961"
Rankings:Chosen by Empire Magazine as one of the "100
Sexiest Stars in Film History" (1995)
Voted Empire (UK) Magazine's "Sexiest Female Movie Star of all Time" (1995)
Ranked #8 in Empire (UK) Magazine's "The Top 100 Movie Stars of All Time" (1997)
Named the Number One Sex Star of the 20th century by Playboy magazine (1999) Voted "Sexiest Woman of the Century" by People Magazine (1999)
Voted 4th Greatest Movie Star of all time by Entertainment Weekly
Voted 2nd Greatest Movie Star of all time by Premiere Magazine Ranked #6 on the American Film Institute's "50 Greatest Screen Legends" list
The Style Of Audrey Hepburn
Audrey Hepburn was and still is a fashion icon! Here are some tips I found on essortment.com on how to steal her style!
This Brussels-born beauty is one of the biggest style icons of our time. Perhaps it was the elegance and wit she possessed, or that little black dress and white gloves in “Breakfast at Tiffany’s” she made every women want to have, or quite possibly a combination of both.
The Little Black Dress
Audrey Hepburn was the little black dress, as she made it famous on the big screen. Women from all over the world use this little closet staple for gala’s, black tie events, weddings and more, paying homage to Audrey’s unique sense of style. Simplicity is the key for this look. Put bold jewelry with it, and you can’t go wrong.
Capri Pants
She made them famous in movies like Sabrina and Funny Face and today women still find them as a wardrobe staple. Whatever color you choose, you’ll look oh-so Audrey.
Ballet Flats
She loved ballet flats and wore them with everything – dresses, pants, Capri pants , etc. Do the same and you’ll find that being chic and simple is easier than ever.
Button-down Men’s Shirts
She pulled this look off beautifully. Audrey Hepburn loved feminine clothes; however, she knew how to pull off the men’s inspired look flawlessly as well. After her movie Roman Holiday (which catapulted her to fame), women everywhere were copying her short haircut, full skirts, cinched waists and men’s inspired button-down shirts.
Turtlenecks, Trench Coats and perfect Handbags
Audrey Hepburn knew how to take the simplest silhouettes and make them unique and special, as well as striking.
Her main fashion designer was Hubert Givenchy, who designed her wardrobe for films such as Funny Face (1957), Love in the Afternoon (1957), Breakfast at Tiffany's (1961), Paris When It Sizzles (1963), Charade (1964), How to Steal a Million (1966), and others.
Men Wearing Makeup!
I found this really interesting artical on overallbeauty.com about men wearing makeup! hhhmm for some reason I can't see my brothers wearing it but hey whatever floats you boat!
Because we live in such a youth oriented world in which how young and attractive you look, male or female influences just what you get out of life romantically and socially. Its not surprising that men are starting to adventure into the woman’s world of makeup. Did you know that in the 50’s great icons of the time wore mascara? Elvis,James Dean, Marlon Brando just to name a few. They knew that to stay out in the crowd they had to do something difference, each had their own style that including wearing some makeup at all times.The number one problem men come up against if they decide to wear makeup is it might bring them across as “gay” or “vain”. Wearing or not wearing makeup has nothing to do with their sexual choices but it seem that looking all natural is better. Or is it?Number two problem he might come up against is where to buy makeup that has been created for men not just using what we as women might use. He might not feel comfortable walking into a department store to buy mascara. Besides how is he going to know which one isbest?When asked, the number one product men ask about is concealer. Just because you might not think he cares about how he looks in truth hedoes. He stares at his skin issues as much as a woman does, he just thinks that asking for your help makes him seem less than a man. How far from it but its ingrain in all of us that men just don’t wear makeup.Good grooming is such an essential these days, so its not surprising that a man with skin issues may want to cover up it up. Problems such as blemishes, under-eye areas, razor nicks, sunspots, redness or possible discoloration from acne scaring. Are these not the some of the same reasons why women use concealer? In our youth obsessed world, it’s not really surprising that there are now major companies that have created cosmetics for men. You can find a few online today Studio5ive.com, Kenmen.net and Menskincare.com just to name a few. Overseas doesn’t have such issues of men wearing makeup as we do here in the United States. When talking about men wearing makeup we are not talking about the fullface anything goes that you find on rock stars, we are talking about ways of enhancing his look without over doing it. Wearing mascara that just tints the lashes to enhance is already amazing eyes making him stand out more in the crowd may not be such a bad thing.If he is going to wear makeup its going to be makeup on his terms not yours. With the number of product for men being concealer there are other products he might be interested in as well. For example a tinted moisturizer that does two things, moisturizing the face as well as adding a little color as to give that natural glow of youth.Once we get over the fact that men wearing makeup isn’t changing him into something he is not, there is not reason why you should fault him for doing so. Wearing makeup doesn’t make a man "vain" or "gay" or anything more that what he is. Besides who wants to be kissed by chapped lips?
Does him wearing lip balm making him any less than a man? No, not at all, it his way of showing he knows that to kiss you he needs to have kissable lips, do we not do the same thing?Because of such pressure that is being putting on men to staying younger looking, we have men’s skincare on the rise, grooming tools, dyes for grey hair, it’s not surprising at all that men are adventuring into wearing cosmetics as well. With more men finding that visiting spas are amazing, having a facial that’s helps with acne adding concealer to cover up is just a natural choice.Men are men no matter what, and wearing a little makeup isn’t going to change that fact, so get over it and let him be a little adventuresome. You never know, you might like going out with someone who cares enough to take care of himself, and that means wearing a little makeup so be it.
Does Your Skin Naturally Glow?
My skin has a life of its own..sometimes it is perfectly clear adn sometimes I have a pizza face! However by following htese steps I found on overallbeauty.com, I now can have beautiful clear skin!
The most beautiful, head-turning heart stopping women in this world today all have one thing in common: gorgeous, radiant skin. When your skin is healthy and vibrant, its like a light switch has been turn on inside of you, and the world is drawn to that light. You don’t need to be a celebrity to make a statement with your skin. Even if you feel your complexion is beyond repair, all you need is a few simple strategies to follow that will help get your skin back to being picture ready. Be it in time for the wedding of the year, photographers or the paparazzi ~ Your skin can be saved!
First off, what do you do at night before you lay down to sleep? Do you start off removing your makeup of the day? Do you wash your face with a natural cleanser, or facial scrub and then moisturize? No? Well this is something you need to start doing to help your face help itself. At night while you are sleep your skin is hard at work fixing things, growing new cells, getting rid of the old, and by not removing your makeup it could be slogging up your pores causing your skin to break out. They say your face does it best work, in helping NOT get fine-lines and wrinkles but renewing your skin cells and pushing out the old. If you have makeup on, well that is just something to block your skin’s way of helping you look better. Have you ever noticed that you look your best after at least 6 hours sleep? This is why, your skin cells have been busy and now your skin shows. At night before going to bed, remove all makeup, use a gentle natural cleanser and or facial scrub and get your sleep!
Rule number 1: Healthy mind ~ Healthy body ~ meaning getting enough exercise, eating right and drinking water. Getting enough sleep all adds up to beautiful skin. Simple huh?
Rule number 2: Never give up on your skin and your appearance!! It doesn’t matter how old you are, how heavy or thin your might be. There is always something you can do to help yourself improve the way your skin looks and feel. You just need to take the time to take care of number 1 ~ That means you
Hormone changes through out our life’s can and will have a cause and affect on our skin. At adolescence, the effect is nearly always to produce excess oils. It just seems so unfair that just as you are starting to be attracted to the opposite sex, you are very often suffering from oily skin, blackheads, blemishes or the biggest problem ever, Acne! How do you care for your skin while it seems like all hell as broken free all over your face and you have a date? Start early with your skincare routine. Start washing your face every morning and before going to bed to help keep that oil at bay. If you have really oily skin you may have to wash your face more than twice a day BUT don’t wash it more than three times a day because your face will react but you got it creating even more oil! If you do have acne or just want to know the best way to take care of your face, visit your Dermatologist, she will be able to help set up the best skincare routine.
Also don’t worry, as we get older most of us more on to having clear skin and no matter what you felt all those times when you felt you had the biggest blemish ever and everyone was staring at it, sorry but they were not, they were too busy thinking the same about their own blemish.
The best idea for carrying for your skin is to start early in your teens, build your own skincare routine and stick to it. If cheap products work best then don’t buy others, if your face breaks out at the thought of anything that isn’t natural made then don’t try anything new. Stick with what works for your face and you too will glow!
How To Pick A Nail Polish Color For Black Dress Or Any Color Dress!
Hi Ladies!
I found this on overallbeauty.com! Having troubling picking a hot nail polish color?? READ THIS!!
When it comes time to wear a dress, it usually means we are off to some formal occasion, got our selfs a hot date or whatever. You have this amazing dress, but your nails are bare looking. Do you match your lipstick and your nail polish on your fingernails and toes or what? Years ago when woman wore dresses all the time, the thing to do was match your eye shadow, lipstick and nail polish if they wore any. Nail polish once thought of as someone “those other women wore” nothing a good upstanding woman would ever think of wearing. Thank goodness that has changed! Today there are so many colors of nail polish that it can be a bit unnerving trying to decide what goes with what or if you should wear one color for everything.
Do you plan what you are going to wear? Most of us with a hot date start planning what to wear from the minute he asked me out. Depending on the guy depends on what I am going to be wearing. First dates are always the hardest to plan what to wear. If you are going to be wearing jeans then any color of nail polish will work. Now if you are going to be wearing a dress for him on your first date then you really need to plan the whole look you want him to see you as.
If you are wearing a black dress, with your eyes done up smoky, then you will probably want to wear a dark color nail polish. If you did your eyes smoky in colors other than black and brown, say plum instead then you might want to wear a color such as deep burgundy or burnt brown to off set the colors you are wearing.
Now for all you pink nail polish wearers, when it comes to dressing up, you should wear a darker pink polish . It will make you look a littler classer and thats one of the reasons we wear a dress to something now. With most of us not even getting out of our jeans for dates, wearing a dress is like playing grown up, and who wants to do that?
What ever you do , don’t do the whole matching thing, if you are wearing deep rich red polish on your nails, do wear it on your toes because you look more put together but don’t match your lipstick to it! Besides if you are wearing smoky eyes you know that your lips much be almost bare in color to make sure that your eyes is all he sees.
Take care of your nails because nothing looks worst than you got this amazing dress on, brand new pair of open toe shoes you been just dying to wear and your nail polish on your fingernails and toes is chipped. OH NO redo your nail polish on your fingernails and toes because you do not have a finished look, and look like someone he wants to know.
Shaving!
Now that it is summer-it is time to shave thoes hairy winter legs! I went on ehow to find out how to have the best close shave for silky smooth skin!
Things You’ll Need:
Women's Shaving Creams
Step1Shave in a warm shower or bath , if possible.
Step2Wait a few minutes before starting to let the leg hair soften. If you take only showers, wait until the end of the shower to shave.
Step3Sit on the ledge in your shower, if possible. If your shower has no place to sit, raise one leg against the wall of the shower and balance carefully.
Step4Apply a small amount of shaving cream, rubbing it into a thick lather and spreading it over your leg. Avoid using soap in place of shaving cream, as it will dry out your skin.
Step5Place the razor at the base of your ankle and pull gently up over your entire leg. If you experience severe razor burn, try shaving in the same direction as the hair growth . You may not get as clean a shave, but you'll avoid raising red bumps.
Step6Rinse the blade between every stroke, and be sure to keep the razor wet while you're shaving.
Step7Shave the entire leg until you've removed all the shaving cream.
Step8Rinse.
Step9Repeat for the other leg.
Step10Pat dry and moisturize.
How To Shape Your Brows!
Brows are VERY important for your face! The perfect brow can pull your whole face together! I found how to have the perfect brows on ehow.com! Heres How:
Instructions
Tweezerman Stainless Steel Spa Point Tweezers
Tweezerman Facial Hair Scissors
Brow brush or toothbrush
Clear mascara or hair gel
Step1 First thing, pluck all stray hairs that are bugging you. I’ve read in magazines that you’re only supposed to pluck beneath your brows, but they’ve never seen my brows. I get strays coming in a good half inch above my brows trying to migrate toward my hairline. So in general, clean up the perimeter.
Step2 Trim your brows. Take a brow brush or a toothbrush and brush your brows straight up and trim the very ends. Then brush brows straight down and trim again. You’re not wanting to take too much off; just neaten things up a bit.
Step3 Shape your brows by plucking. The general rule is to hold a pencil vertically even with your nostril, and that’s where you brows should start. Then, hold the pencil against your nose diagonally in front of your pupil, and where the pencil crosses your brow should be where the arch starts. Pluck sparingly …just a few hairs during each session. Wait at least few hours and evaluate the shape before resuming the pluck-fest. Again, the goal is to neaten the brows, not to dramatically alter their shape or even thickness.
Step4Maintain brow shape by plucking new growth daily. My new growth starts as a black dot and is quite noticeable. The best tweezers for getting at those dots is Tweezerman’s stainless steel tweezers with a spa point tip. They’re also great for getting out ingrown hairs and splinters and fixing pulls on sweaters (you just grasp the pulled string or yarn and poke it through to the back side).
Step5 Once trimmed and shaped to your liking, brush upward with a clear mascara or hair gel . Apply a little beige shadow to highlight beneath the arch.
Tips & Warnings
Be good to your brows!
Plucking can be addictive. Don't ask me why.
Avoid an electric trimmer; it's too easy to go too short!
The Smoky Eye Step
I have always wanted to know to apply my eyeshadow to get the "smoky eye" look. I found this on beauty.about.com. They gave really great and easy tips on how to achieve the look. Check it out and do it yourself!!
Smoky eyes have been a big style for quite awhile and there's no sign this particular trend is dying. Here we show you step-by-step instructions on how to get the perfect smoky eye.The key to the perfect smoky eye is proper blending. You want to make sure colors are blended together flawlessly. Also, it's important to pair light base colors with rich dark colors. Nice mixes include: Soft gold base with deep purple on top, champagne base with bright blue and peach base with green hue.
Difficulty: Easy
Time Required: 5 minutes
Here's How:
1) Prep the lid. The key to keeping eyeshadow from melting into your eyelid crease as the day goes on is to kept eyelids oil-free. To do this start with an eyeshadow base (also called "primer"). I prefer to dab at bit of MAC's 'paint' on lids before shadow application. Or try Fresh Freshface Perfecting Eye Primer .
2) Apply eyeliner. If you're going for a typical black, brown or gray smoky eye, apply liner in one of those colors above the upper lash line, drawing line thicker in the middle of eye. If your opting for a jewel-toned eye (violet makes a gorgeous smoky eye), line eyes with a purple, blue or deep green liner.
Blend in color on bottom lashes For color on the bottom (a key smoky eye look) you'll want a lighter eyeliner. The key is to "smudge it." You can also apply a bit of shadow to get full smudge effect.
3) Apply light base color Again, the key to a smoky eye is pairing a lighter base with the darker hue. I prefer a nice cream shade for my base. Sweep a light, shimmery shadow over the lids to your browbone. I love Stila's whipped eye shadows $20 . The moist "mousse" consistency seems to stay on forever. My favorite colors are taupe and pearl.
Blend in darker color, but keep dark color below the crease. Now that you have the base and eyeliner on, it's time to get the smoky effect. You need a darker eyeshadow shade. Using an eyeshadow brush blend in color starting at your lash line, blending up. Make sure to blend color into the lash line so the eye liner disappears. Stop deep color at crease.
4) Doublecheck your work Make sure eyes match and blend color with a Q-tip if need be.
5) Finish with several coats of volumizing mascara. Tried and true mascaras (featured in "Elle" magazine's March 2006 issue) include DiorShow Mascara & L'Oreal Paris Volume Shocking Mascara . Elle's writer says they are the best volumizers she's tried.
Tips:
-Remember to keep lips nude. When applying strong makeup (like smoky eyes or red lips) put the focus on either eyes or lips, never both. (Think Angelina Jolie: She either plays up her huge eyes or her huge lips, never both. If she did, she'd look like a clown).
For a bit of fun, try a blue or purple mascara. It will make blue eyes "pop."
-Liner doesn't have to come in pencil form. Makeup experts know eyeshadows make some of the best eyeliners. To do this take an eyeliner brush (available at Sephora, MAC or any dept store), wet it, then dab wet brush into the dark shadow. This allows for a deep, precise line. You can also use the dark shadows without wetting brush first. Either way, eyeliner is necessary for smoky eye.
This season go jewel-toned (blue is great for you blue-eyed girls) and keep your eyes smoky but stay away from dark browns and black. Instead, go for a deep purple, a gold-brown or any of the many vibrant colors in this year.
What You Need:
Eye primer (you don't need it, but it's great for keeping shadow in place)
2 Shadows: One light, one darker
Eyeliner
Mascara
Tips On Painting Your Nails!
If you aren't quite satisfied with your current state of at-home manicures, there is certainly help out there and some basic tips on mistakes to avoid. These are the big five:
1. Filing your nails in the wrong direction. If you saw back and forth with your emery board and go too deep into the corners this can have the unwelcome effect of splitting and weakening your nails. Hold a fine emery board at a slight angle to the nail, file from left corner to center for just a few strokes, and then from the right corner to the center. After you are done, use a fine metal file for completion
2. Don't neglect your cuticles. Rough, jagged cuticles can promote painful hangnails. Brush your cuticles with a rich oil after your morning shower and before you head off to sleep. Have the oil soak in for a minute, then rub into the cuticle. Oil is comparatively better than hand cream when it comes to absorption.
3. When cutting cuticles, avoid nipping away at your cuticles. This invites the risk of infection. (Your cuticles act as a barrier against bacteria). The fix: in the shower, gently push back cuticles with a washcloth. (Steamy water helps to soften them).
4. Don't skip the base coat!! Polish on bare nails can dry out the nail plate. Also staining can be a problem. Try a moisturizing base on clean nails and the apply polish.
5. Don't leave polish on for too long. If you do, it will dry your nail leaving it brittle. Once polish begins to chip it can peel a superficial layer of nail too. You should remove polish after 5 days; wash hands to rinse away remover, which can also be drying.
Have FUN with your nails and use wild and bright colors that will grab peoples attention!
Make-Up Tips!
I found this on www.ehow.com . A girl can't look her best without makeup! So here are some tips on how to do your own makeup!
Things You’ll Need:
Lip Gloss
Eye Shadow
Step1-Apply a concealer that is one shade lighter than your foundation. Dot it on over any blemishes or under-eye circles and blend with your fingertips or a makeup sponge. If your concealer tends to cake, apply eye cream first.
Step2-Choose foundation that matches your skin tone exactly. Apply it in dots over the central part of your face, then blend it out with a makeup sponge or your fingertips until it covers your entire face (see Related eHows).
Step3-Use a loose or pressed powder to keep foundation and concealer on longer. Use pressed powder to touch up when you're away from home.
Step4-Do your eyebrows next. Use powdered eyebrow shadow on brows instead of pencil, which can often look unnatural. Apply it with a hard, slanted brush.
Step5-Choose three colors of eye shadow: light, medium and dark. Use the dark only to line your upper eyelid, in a fairly thin line along the upper lashes. Use the medium shade for the crease and the lightest shade for the area under the eyebrow. There are many variations on eye shadow application techniques (see Related eHows).
Step6-Apply eyeliner. Use a cake eyeliner with a damp, thin liner brush, or an eyeliner pencil, and line the lower lid below the lashes. Line only the outer two-thirds of the lower lid, or all the way across if you're trying to achieve a darker look. Line all the way across the upper lid (just above the lash line and as close to the lashes as possible), or start the line where your lashes begin.
Step7-Apply mascara to upper and lower lashes, in two thin coats to avoid clumpiness. Choose brown mascara if your coloring is fair; black or brown-black works well for darker coloring. Or try a colored mascara such as navy or plum for fun, but don't go too bright if you want to be taken seriously.
Step8-Smile to find the apples of your cheeks, and apply blush to the apples or below, whichever you prefer. If you have to blend in blush, it's too bright.
Step9-Choose a lipstick color that's suited to your skin tone and that's perfect for your day look. You can mix colors and textures to suit your moods and your outfits (see Related eHows).
Step10-Line lips after applying lipstick, not before. That way you won't end up with a dark circle of lip liner after your lipstick has worn off. Avoid combining very dark lip liner and pale lipstick.
Tips & Warnings!
*Follow the steps in the order given, and remember to clean and moisturize your face before applying makeup.
*Choose brighter or darker tones for a stronger look.
*Clean makeup brushes by gently washing them in warm water and mild gel shampoo. Air-dry them overnight.
*Don't skimp on makeup tools. High-quality tools make application easier and faster.
*If you decide to curl your eyelashes, do this just before applying mascara, never after. Insert your eyelashes into the curler, squeeze just once, and hold for a few seconds.
*Bacteria can grow in older cosmetics, which can lead to infections. Be on the safe side: Toss anything that's seems old, especially mascara, and avoid sharing products with others.
Fashion Icons From The 1920's And 1930's
In the 1920s and 1930s American fashion began to assert itself and soon gained world recognition. Hollywood was instrumental in providing the world with the latest looks for concepts of dressing with feminine allure and glamour. Women demanded the same exciting new fashions and beauty tricks and products as the film icons and stars wore and so costumers and beauty experts became important in their own right.
Louise Brooks 1920s Fashion Icon
Louise Brooks is one the most famous fashion icons of the 20th century and of the 1920s. You may not know her name, but you will know her face. Her distinctive black helmet like bob cut hair often worn with bangs or a fringe as we would call the curtain of hair today was her trademark. Louise Brooks was the famous flapper of her era. She was a model as well as an actress and frequently appeared in advertisements. Louise Brooks had short hair, a short skirt and wore make up. She bore no resemblance to anything vaguely Edwardian and embodied the spirit of the Jazz Age. The flapper era worshipped young people and Louise Brooks was the Madonna of her day with her signature image of the perfect flapper look.
Greta Garbo 1930s Fashion Icon
A complete contrast to Louise Brooks is Greta Garbo who was one of the most prominent and best loved stars of all the 1920s and 1930s icons. Many a costume history book touts her as an intriguing fashion icon of mystery and allure. Her softer look was total different to Louise Brooks, yet was full of femininity and captivation that sat happily alongside that of the flapper.
Greta Garbo was born in 1905 as Greta Lovisa Gustafsson in Stockholm. Born of impoverished parents she first went to work at age 14 in a barber's shop, but later became a model. Keen to act after featuring as a bathing beauty in a film Garbo studied acting from 1922 to 1924 at the Royal Dramatic Theatre, Stockholm.
Bette Davis: Who among us hasn’t heard the famous “She’s got Bette Davis Eyes”? Miss Bette Davis was born Ruth Elizabeth Davis on was born April 5, 1908 in Lowell, Massachusetts. The world mourned her passing on October 6, 1989 in France from cancer. When she first came on the scene, she was not viewed as a gorgeous glamorous star. Among a host of others, she actually stared in a movie entitled “Fashions of 1934” where she played “Lynn Mason” an assistant to a bootlegger selling Paris Fashions. It is said that her tombstone reads "She did it the hard way". She started a wave of starlets that were not classically beautiful but still had that “something about them” The fashion world is forever indebted to the woman with those “teasing” eyes.
Jean Harlow: “Her hair is Harlow gold” How can we talk about Miss Davis’s eyes without mentioning the other legend that is attributed to in the famous song? She began the trend of “Blonde Bombshells” that is still going strong in Hollywood today. Born Harlean Carpenter on March 3, 1911 in Kansas City, Missouri, she can be solely credited for starting the peroxide revolution with her platinum blonde locks. She was the first actress to appear on the cover of Life Magazine an though she passed away on June 7, 1937 at the young age of 26, there are over 35 movies that you can watch after you “Slip into something more comfortable”
Vivien Leigh: “Scarlett was not beautiful but men seldom realized it when caught by her charm…” at least according to the book. On screen the great Miss O’Hara shined in looks as well as charm. Vivien Leigh ended the decade regally with her piercing eyes and that arched eyebrow that models still continue to try and emulate today. Born Vivian Mary Hartley on November 5th 1913, she passed away died July 7th 1967 a still much beloved actress. Her icon status will forever be safe. Even in old drapes; no one could deny her exotic beauty. This may be where the phrase “It’s not the clothes that you wear, It’s how you wear the clothes” came from.
Josephine Baker: Born, Freda Josephine McDonald in St. Louis, Missouri, on June 3, 1906, Josephine Baker gainined fame throughout Europe during the 1920’s but wasn’t received well in the United States, even after two acclaimed movies in 1930’s, because of her dark skin color. During World War II, she performed for the troops, and smuggled secret messages written on her music sheets for the French Resistance in addition to being a sub-lieutenant in the Women's Auxiliary Air Force. This seemed to renew her strength and during the 1950’s and 1960’s she returned to the United States with a vengeance to help the fight against racism. She made such an impact that the “The National Association for the Advancement of Colored People” (NAACP) observes May 20 as “Josephine Baker Day”. She passed away on April 12th, 1975. Her exotic beauty, and sensational clothing style made her an icon in the world of fashion but her heart and determination made her a legend to all.
All these women are known for their talents and sense of style that helped the world of fashion grow and prosper!
1950-60 Hairstyles
I found this on www.Fashion-era.com ! I also LOVE everything about the 1920's to the 1960's. The hair, glamour and the clothes was soooo cool! Check this out about the hairstyles of the 1950-60's...its really interesting and fun to read!
Throughout the early 50s the ponytail was a popular youthful hairstyle and it matured into the French pleat. Fashionable hairstyles began with simple ponytails and ended the decade with complex beehive arrangements. Popular hairstyles in the 1950s and 60s were the poodle cut and the French pleat and later the beehive which began at the tail end of the 50s.
For the more sophisticated, a permanent wave in the styles favoured by Elizabeth Taylor and the young Queen Elizabeth II were universally worn. Their popular bubble cut hairstyles were easily copied with the advent of improved hair products, particularly home perms. Other stars that captured the look of the day were Leslie Caron, Audrey Hepburn, Sophia Loren, Brigitte Bardot and Doris Day.
Hairdressing was so big, that by 1955 almost 30,000 salons had sprung up in Britain. As products such as hair lacquer sprays and plastic rollers came into general use it was easily possible for ordinary women to create more and more complex hairstyles of height.
By the late 50s, outrageous backcombed bouffants, beehives, and French pleats led the way for the intricate coiled hairstyles of the 1960s. Women mostly bought their hair lacquer from their hairdresser and decanted it at home into nylon puffer spray bottles. By the end of the 50s, hair spray in cans, commercial shampoo, conditioner and rollers all became big business that boomed in the sixties.
Great Fashion Schools!
What Famous People Think Of Fashion
“I did not have three thousand pairs of shoes. I had one thousand and sixty.” Imelda Marcos
“A fashion is merely a form of ugliness so unbearable that we are compelled to alter it every six months.” Oscar Wilde
“All the American women had purple noses and gray lips and their faces were chalk white from terrible powder. I recognized that the United States could be my life's work.” Helena Rubinstein
“A designer is only as good as the star who wears her clothes.” Edith Head
“About half my designs are controlled fantasy, 15 percent are total madness and the rest are bread-and-butter designs.” Manolo Blahnik
“When in doubt, wear red.” Bill Blass
“I don't do fashion, I am fashion.” Coco Chanel
“They think him the best dressed man, whose dress is so fit for his use that you cannot notice or remember to describe it.”Ralph Waldo Emerson
“A good model can advance fashion by ten years.” Yves Saint Laurent
“I don't design clothes. I design dreams.” Ralph Lauren
“A woman's dress should be like a barbed- wire fence: serving its purpose without obstructing the view.” Sophia Loren
“Fashion is architecture. It is a matter of proportions.” Coco Chanel
“The goal I seek is to have people refine their style through my clothing without having them become victims of fashion.” Giorgio Armani
“Be not the first by whom the new are tried, nor yet the last to lay the old aside.” Alexander Pope
“I like fashion to go down to the street, but I can't accept that it should originate there.” Coco Chanel
“In difficult times fashion is always outrageous.” Elsa Schiaparelli
“Fashion anticipates, and elegance is a state of mind ... a mirror of the time in which we live, a translation of the future, and should never be static.” Oleg Cassini
“The novelties of one generation are only the resuscitated fashions of the generation before last.” George Bernard Shaw
“Fashion is more usually a gentle progression of revisited ideas.” Bruce Oldfield
“Fashion is the science of appearances, and it inspires one with the desire to seem rather than to be.” Edwin Hubbel
“I base my fashion sense on what doesn't itch.” Gilda Radner
“Chanel is composed of only a few elements, white camellias, quilted bags and Austrian doorman's jackets, pearls, chains, shoes with black toes. I use these elements like notes to play with.” Karl Lagerfeld
Art produces ugly things which frequently become beautiful with time. Fashion, on the other hand, produces beautiful things which always become ugly with time.” Jean Cocteau
“Fashion is what you adopt when you don't know who you are.” Quentin Crisp
“The dress must follow the body of a woman, not the body following the shape of the dress.” Hubert de Givenchy
“Fashion is something barbarous, for it produces innovation without reason and imitation without benefit.” George Santayana
“Today, fashion is really about sensuality—how a woman feels on the inside. In the '80s women used suits with exaggerated shoulders and waists to make a strong impression. Women are now more comfortable with themselves and their bodies—they no longer feel the need to hide behind their clothes.” Donna Karan
“Respect is love in plain clothes.” Frankie Byrne
“Problems are only opportunities in work clothes.” Henry J. Kaiser
“The lamb began to follow the wolf in sheep’s clothing.” Aesop
“Common sense is genius dressed in its working clothes.” Ralph Waldo Emerson
“She wears her clothes as if they were thrown on witha pitchfork. Jonathan Swift
“When his wife asked him to change clothes to meet the German Ambassador: If they want to see me, here I am. If they want to see my clothes, open my closet and show them my suits.” Albert Einstein
“Clothes don’t make a man, but clothes have got many a man a good job.” Herbert Harold Vreeland
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March 9th, 1862 was the naval battle of Hampton Roads, which saw which two ships, the first ironclads, face off against each other? | Battle Of Hampton Roads History Essay
Battle Of Hampton Roads History Essay
Published:
Last Edited:
23rd March, 2015
This essay has been submitted by a student. This is not an example of the work written by our professional essay writers.
On March 8th-9th, 1862 off the coast of Hampton Roads, Virginia stood perhaps one of the greatest military battles of all time. This was the first time two iron clad ships came together face to face. It is recorded as a draw in history. The USS Monitor being swift with a revolving turret and also having a screw propeller fought a hard battle against a massive confederate ship CSS Virginia. The battle was a draw because both sides claimed victory. The USS monitor was inflicted first when a shell flew into the pilot house. The two ships then became out of reach, since they both needed to fix their damage. The confederates left to go back to Virginia and when the USS Monitor returned to Hampton Roads they were convinced the CSS Virginia had quit.
BATTLE OF HAMPTON ROADS
Background Information
When the United States of America consisted of the original 13 colonies, many battles took place to help shape and form the Union. When the Civil War took place, one battle in particular changed the face of naval warfare forever. The Battle of Hampton Roads occurred off the coast of Virginia on March 8th and March 9th in 1862.
Several states were against the United States government and argued for their independence, these states were classified as confederates. Virginia was a confederate state and it was granted secession from the United States in February of 1861. Abraham Lincoln was voted in as the president of the Union, also known as the United States of America, in March of 1862.
Although the majority of the population within a confederate state might have favored the views of confederates, the other portion was with the Union. This caused many violent outbreaks especially at ports where goods would arrive from other Union states. To prevent this occurrence of outbreaks, Secretary of the Navy Gideon Wells ordered that the northern ports be the ones used primarily since most states up north were a member of the Union. The Navy positioned its most powerful warships at Hampton Roadsteads to ensure peace at the popular port.
Introduction
The confederates wanted to combat the Union Navy so they quickly created an ironclad ship called the CSS Virginia, which was, "built on the partially burned hull of the uncompleted U.S. Navy steam frigate Merrimac"(Guttman 62-64). The ship was 275 feet long and weighed roughly 3,200 tons. Three inch armor plating was placed around the belt of the ship, and four inch armor was placed around the casemate. Top speed was roughly five knots. The Union had already planned on switching from wood one year prior to the start of the Civil War. The Union selected from 17 designs, they were most impressed with the design from Swedish engineer John Ericsson. His design was selected because he was able to show how to be conservative and effective. David A. Mindell, author of War, Technology and Experience aboard the USS Monitor dubbed Ericsson as a "visionary genius fighting conservatism"(Guilmartin 932-934).
When Ericsson's design came to life, the ship would be called the USS Monitor. She was capable of reaching speeds of eight knots, she weighed roughly 1000 tons. The ship's primary weapon was the revolving, "thickly-armored round turret… rotated by steam power to permit nearly all-around fire from a pair of eleven-inch…shell guns, the heaviest weapons then"(Report 3) The ship was created with a five inch iron hull, and thickly armored on the deck.
Middle
On March 8th, 1862 the Union was guarding the ports located at Hampton Roads, Virginia. The port was being protected by five Union ships were present; all of these had a wooded hull. The USS Monitor was scheduled to arrive at the next day. The confederates did not like the union blocking their ports; the CSS Virginia arrived in Hampton Roads accompanied with two other ships. The CSS Virginia uses its mass and iron cased hull to ram into three union ships. The wooden hull ships did not have a chance, and after one day approximately 240 people were killed.
The following day the USS Monitor arrived, and for the first time in world history two ironclad ships fought. They fought for hours, and armor from each ship would show much damage. Then, a shell penetrated the pilot house of the Monitor causing much damage. John L. Worden, commanding officer of the USS Monitor wrote a letter to Welles explaining what exactly occurred to the pilot house:
"When being within ten yards of the enemy a shell from her struck the pilot house near the lookout hole, through which I was looking, and exploded, fracturing one of the "logs" of iron of which it was composed, filling my face and eyes with powder utterly blinding and in a degree stunning me. The top of the pilot house too, was partially lifted off by the force of the concussion which let in a flood of light, so strong as to be apparent to me, blind as I was, and caused me to believe that the pilot house was seriously disabled"(To Remedy A Wrong).
The next major act was when the CSS Virginia suffered damage to her hull. The CSS Virginia although successful on the first day of the battle, did suffer minor damage from the ramming of the wooden hull ships. The two ships eventually became out of reach of one another. Lieutenant Worden was unable to command so Lieutenant Samuel Dana Greene took command, when initially given control of the helm he drew the ship away.
End
Lieutent Green, the 22-year old executive officer of the USS Monitor wrote in a letter to his parents speaks briefly about how the two became separated, " if another shot should strike our pilot house in the same place, our steering apparatus would be disabled and we should be at the mercy of the Batteries on Sewall's Point. The Merrimac(CSS Virginia) was retreating towards the latter place"(Greene 26-32). This is the climax of the battle because the USS Monitor was inflicted with a shell to the pilot house, and the CSS Virginia retreated.
When Greene initially drew the ship in another direction this led Catesby ap Roger Jones, captain of the CSS Virginia, to believe that he had won. Captain Jones thought it would be best to leave, so he attempted to steer the CSS Virginia to follow the reach the other confederate ships. Unable to catch the ships Jones began moving to Norfolk. Greene returned the USS Monitor to the scene. Lieutenant Green believed the CSS Virginia was retreating, so he commanded that the USS Monitor to leave the area for repairs.
Conclusion
The aftermath of this battle was that both sides claimed victory, but it was rather a misinterpretation of one another's behaviors. The event is recorded by many as a draw in history. The importance of the battle is that ironclad ships became the new standard for future ships, and that this marked the first engagement of iron ships in history. The battle played a significant role in the American Civil War. The Union kept on placing military presence wherever outbreaks occurred. The Union was successful, eventually causing the Supreme Court ruling of 1869 which did not allow colonies to secede from the Union (Aleksandar 222).
A Pulitzer Prize winner in 1989 for his landmark history of the Civil War, James McPherson elaborates on why this event was so important, "it was a turning point in the history of naval warfare, since it was the first clash between ironclad ships... basically, those two ironclads neutralized each other"( 22-25) The wooden-hull age of ships was no longer the standard, after this battle. Today, iron is no longer used by the navy for the construction of the hull of ships. Most of the Navy's hulls are created now with a composition of materials, with steel being the majority. The concept of having a durable and strong hull can be traced back to the USS Monitor and CSS Virginia.
Work Cited
1 Guttman, Jon. "Ironclads at War: The Monitor vs. The Merrimac/Deadly Inferno: Battle of the Wilderness." Civil War Times 46.10 (2008): 62-64. America: History & Life. 2 Apr. 2011
2 Guilmartin, Jr., John F. "War, Technology, and Experience aboard the USS 'Monitor.'." Journal of Southern History 69.4 (2003): 932-934. America: History & Life. 2 Apr. 2011.
3 Navy, United States. "USN Ships--USS Monitor (1862) -- Construction."Â Naval History and Heritage Command. 19 June 2001. Web. 03 Apr. 2011. <http://www.history.navy.mil/photos/sh-usn/usnsh-m/monitr-u.htm>.
4 "'To Remedy a Wrong'." Naval History 21.2 (2007): 29-31. America: History & Life. 3 Apr. 2011.
5 Greene, Samuel Dana. "Voyage to Destiny." Naval History 21.2 (2007): 26-32. America: History & Life. 3 Apr. 2011.
6 Aleksandar Pavković, Peter Radan, "Creating New States: Theory and Practice of Secession" p. 222, Ashgate Publishing, Ltd., 2007.
7 "'What a Naval War Really Is'." Naval History 18.4 : 22-25. America: History & Life. 3 Apr. 2011.
| uss monitor and css virginia |
The 1848 Treaty of Guadalupe Hidalgo officially ended what 2 year long war? | Battle Of Hampton Roads History Essay
Battle Of Hampton Roads History Essay
Published:
Last Edited:
23rd March, 2015
This essay has been submitted by a student. This is not an example of the work written by our professional essay writers.
On March 8th-9th, 1862 off the coast of Hampton Roads, Virginia stood perhaps one of the greatest military battles of all time. This was the first time two iron clad ships came together face to face. It is recorded as a draw in history. The USS Monitor being swift with a revolving turret and also having a screw propeller fought a hard battle against a massive confederate ship CSS Virginia. The battle was a draw because both sides claimed victory. The USS monitor was inflicted first when a shell flew into the pilot house. The two ships then became out of reach, since they both needed to fix their damage. The confederates left to go back to Virginia and when the USS Monitor returned to Hampton Roads they were convinced the CSS Virginia had quit.
BATTLE OF HAMPTON ROADS
Background Information
When the United States of America consisted of the original 13 colonies, many battles took place to help shape and form the Union. When the Civil War took place, one battle in particular changed the face of naval warfare forever. The Battle of Hampton Roads occurred off the coast of Virginia on March 8th and March 9th in 1862.
Several states were against the United States government and argued for their independence, these states were classified as confederates. Virginia was a confederate state and it was granted secession from the United States in February of 1861. Abraham Lincoln was voted in as the president of the Union, also known as the United States of America, in March of 1862.
Although the majority of the population within a confederate state might have favored the views of confederates, the other portion was with the Union. This caused many violent outbreaks especially at ports where goods would arrive from other Union states. To prevent this occurrence of outbreaks, Secretary of the Navy Gideon Wells ordered that the northern ports be the ones used primarily since most states up north were a member of the Union. The Navy positioned its most powerful warships at Hampton Roadsteads to ensure peace at the popular port.
Introduction
The confederates wanted to combat the Union Navy so they quickly created an ironclad ship called the CSS Virginia, which was, "built on the partially burned hull of the uncompleted U.S. Navy steam frigate Merrimac"(Guttman 62-64). The ship was 275 feet long and weighed roughly 3,200 tons. Three inch armor plating was placed around the belt of the ship, and four inch armor was placed around the casemate. Top speed was roughly five knots. The Union had already planned on switching from wood one year prior to the start of the Civil War. The Union selected from 17 designs, they were most impressed with the design from Swedish engineer John Ericsson. His design was selected because he was able to show how to be conservative and effective. David A. Mindell, author of War, Technology and Experience aboard the USS Monitor dubbed Ericsson as a "visionary genius fighting conservatism"(Guilmartin 932-934).
When Ericsson's design came to life, the ship would be called the USS Monitor. She was capable of reaching speeds of eight knots, she weighed roughly 1000 tons. The ship's primary weapon was the revolving, "thickly-armored round turret… rotated by steam power to permit nearly all-around fire from a pair of eleven-inch…shell guns, the heaviest weapons then"(Report 3) The ship was created with a five inch iron hull, and thickly armored on the deck.
Middle
On March 8th, 1862 the Union was guarding the ports located at Hampton Roads, Virginia. The port was being protected by five Union ships were present; all of these had a wooded hull. The USS Monitor was scheduled to arrive at the next day. The confederates did not like the union blocking their ports; the CSS Virginia arrived in Hampton Roads accompanied with two other ships. The CSS Virginia uses its mass and iron cased hull to ram into three union ships. The wooden hull ships did not have a chance, and after one day approximately 240 people were killed.
The following day the USS Monitor arrived, and for the first time in world history two ironclad ships fought. They fought for hours, and armor from each ship would show much damage. Then, a shell penetrated the pilot house of the Monitor causing much damage. John L. Worden, commanding officer of the USS Monitor wrote a letter to Welles explaining what exactly occurred to the pilot house:
"When being within ten yards of the enemy a shell from her struck the pilot house near the lookout hole, through which I was looking, and exploded, fracturing one of the "logs" of iron of which it was composed, filling my face and eyes with powder utterly blinding and in a degree stunning me. The top of the pilot house too, was partially lifted off by the force of the concussion which let in a flood of light, so strong as to be apparent to me, blind as I was, and caused me to believe that the pilot house was seriously disabled"(To Remedy A Wrong).
The next major act was when the CSS Virginia suffered damage to her hull. The CSS Virginia although successful on the first day of the battle, did suffer minor damage from the ramming of the wooden hull ships. The two ships eventually became out of reach of one another. Lieutenant Worden was unable to command so Lieutenant Samuel Dana Greene took command, when initially given control of the helm he drew the ship away.
End
Lieutent Green, the 22-year old executive officer of the USS Monitor wrote in a letter to his parents speaks briefly about how the two became separated, " if another shot should strike our pilot house in the same place, our steering apparatus would be disabled and we should be at the mercy of the Batteries on Sewall's Point. The Merrimac(CSS Virginia) was retreating towards the latter place"(Greene 26-32). This is the climax of the battle because the USS Monitor was inflicted with a shell to the pilot house, and the CSS Virginia retreated.
When Greene initially drew the ship in another direction this led Catesby ap Roger Jones, captain of the CSS Virginia, to believe that he had won. Captain Jones thought it would be best to leave, so he attempted to steer the CSS Virginia to follow the reach the other confederate ships. Unable to catch the ships Jones began moving to Norfolk. Greene returned the USS Monitor to the scene. Lieutenant Green believed the CSS Virginia was retreating, so he commanded that the USS Monitor to leave the area for repairs.
Conclusion
The aftermath of this battle was that both sides claimed victory, but it was rather a misinterpretation of one another's behaviors. The event is recorded by many as a draw in history. The importance of the battle is that ironclad ships became the new standard for future ships, and that this marked the first engagement of iron ships in history. The battle played a significant role in the American Civil War. The Union kept on placing military presence wherever outbreaks occurred. The Union was successful, eventually causing the Supreme Court ruling of 1869 which did not allow colonies to secede from the Union (Aleksandar 222).
A Pulitzer Prize winner in 1989 for his landmark history of the Civil War, James McPherson elaborates on why this event was so important, "it was a turning point in the history of naval warfare, since it was the first clash between ironclad ships... basically, those two ironclads neutralized each other"( 22-25) The wooden-hull age of ships was no longer the standard, after this battle. Today, iron is no longer used by the navy for the construction of the hull of ships. Most of the Navy's hulls are created now with a composition of materials, with steel being the majority. The concept of having a durable and strong hull can be traced back to the USS Monitor and CSS Virginia.
Work Cited
1 Guttman, Jon. "Ironclads at War: The Monitor vs. The Merrimac/Deadly Inferno: Battle of the Wilderness." Civil War Times 46.10 (2008): 62-64. America: History & Life. 2 Apr. 2011
2 Guilmartin, Jr., John F. "War, Technology, and Experience aboard the USS 'Monitor.'." Journal of Southern History 69.4 (2003): 932-934. America: History & Life. 2 Apr. 2011.
3 Navy, United States. "USN Ships--USS Monitor (1862) -- Construction."Â Naval History and Heritage Command. 19 June 2001. Web. 03 Apr. 2011. <http://www.history.navy.mil/photos/sh-usn/usnsh-m/monitr-u.htm>.
4 "'To Remedy a Wrong'." Naval History 21.2 (2007): 29-31. America: History & Life. 3 Apr. 2011.
5 Greene, Samuel Dana. "Voyage to Destiny." Naval History 21.2 (2007): 26-32. America: History & Life. 3 Apr. 2011.
6 Aleksandar Pavković, Peter Radan, "Creating New States: Theory and Practice of Secession" p. 222, Ashgate Publishing, Ltd., 2007.
7 "'What a Naval War Really Is'." Naval History 18.4 : 22-25. America: History & Life. 3 Apr. 2011.
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Who's missing: Micky Dolenz, Michael Nesmith, Davy Jones? | Davy | Davy Jones: Official Site
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Davy
After The Monkees first disbanded in 1971, Davy launched a solo career that included recordings, song writing, live performances, theatre, TV, film & personal appearances.
An extremely able horseman who once dreamed of a career as a jockey, Jones earned his amateur riding licence in the late 1970’s, rode his first winner at the age of 50 and kept a stable of horses which he trained. After years of telling stories of his incredible life, Davy penned an autobiography (or “ought-to-buy-ography” as he called it) in 1987, They Made a Monkee Out of Me, as well as two more titles.
Davy Jones
Davy was always interested in new ideas and started many businesses, from clothing & art stores to a record label and music publishing company. Throughout his life, Jones gave generously to many charities, and worked especially hard to raise funds and awareness for MS. With a career that spanned five decades, Davy Jones will always have a secure place in pop culture history as well as in the hearts of his ever-growing global fan base!
Early life
Born December 30, 1945 in Openshaw, Manchester, England as the youngest of four and only son of Harry & Doris Jones, David grew up a happy, energetic child. He showed promise in athletics, acting and music. In late 1959, his Aunt Jessie became his first agent when she answered an ad in the Manchester Evening News calling for “school boys to audition for a radio play”. David got the lead role in There is a Happy Land, at the time the longest part ever written for a teenager in a B.B.C. play. From there, David was cast in TV roles on June Evening, Z-Cars and as Colin Lomax, the grandson of Ena Sharples on the iconic British soap opera, Coronation Street. During this time, Doris Jones passed away after many years of suffering from emphysema. This prompted David to change plans and pursue a career as a jockey instead of acting. His father was put in touch with Newmarket-based trainer Basil Foster after contacting a local paper in Manchester regarding his son. After a six week trial during the summer of 1960, David quit school and moved to Newmarket at the end of the year to begin his apprenticeship with Basil Foster at Holland House. It was during his time as an apprentice jockey that David’s career and life would change forever.
1960s
A talent agent who owned horses trained by Basil Foster took a liking to the charming young stable boy and, learning of his past experience on television & radio, had David come to London to audition for a part in Lionel Bart’s new musical production of Oliver! His Mancunian accent was the only problem, and was encouraged to try again for the part. David perfected his cockney dialect while appearing as Little Michael in a stage production of Peter Pan that starred Jane Asher as Wendy. When the play ended, he returned to London and secured the role of The Artful Dodger. After a successful run in the West End, Oliver! was Broadway bound, including 16 year-old David Jones! Starring alongside veteran actors, Georgia Brown and Clive Revill, David stole the show night after night and eventually earned a Tony nomination. David, along with his cast mates, appeared on The Ed Sulllivan Show on February 9, 1964, the same night The Beatles were introduced to American audiences. Being young, talented, charismatic, good looking & British made David an even bigger prospect once Beatlemania broke out. When David’s run with Oliver! came to an end in 1965, he was asked by David Merrick to join the cast of his production of Pickwick, alongside the venerable Harry Secombe. It was a temporary role, but played in Los Angeles and San Francisco which was exactly where Jones wanted to be. Once in Hollywood, he signed a contract with Ward Sylvester of Screen Gems (then the TV division of Columbia Pictures), which also included a recording contract on their label, Colpix. 1965 was a year of searching for the right vehicle for Jones. He had guest appearances in Ben Casey, The Farmer’s Daughter, and finally The Monkees project emerged. He had already released a solo album, entitled David Jones, with a single that entered the Hot 100 during the summer of that year. After meeting with Monkees’ producers Bob Rafelson and Bert Schneider , David was selected as the first choice for their ground-breaking television show about a struggling rock band. Micky Dolenz, Michael Nesmith and Peter Tork were chosen to work well around Jones. They wanted four strong, unique characters to stand on their own, similar to The Beatles. David was introduced on The Monkees as Davy Jones, and it is that name that he is most identified with as an entertainer. The show debuted on September 12, 1966, ran two seasons, was nominated for three Emmy’s and won two. The Monkees and Davy Jones quickly became household names. As a recording act, they outsold The Beatles and The Rolling Stones combined in 1967. Due to the success of their television show and record sales, the four members established themselves as a working band in order to tour. From 1966 to 1971, they toured the world, had three #1 singles (including Davy’s signature lead vocal performance on “Daydream Believer”), four #1 albums, a TV special & cutting-edge motion picture, Head, that has since become a cult classic. David, on his own and with the band, appeared on television shows such as Top of The Pops, The Hollywood Squares, The Glen Campbell Goodtime Hour & The Johnny Cash Show. The end of the group meant a whole new chapter in the life of Davy Jones.
1970s
In his personal life, David had married Linda Haines in 1968, and by 1971 they were the parents of two daughters, Talia & Sarah. During the run of The Monkees, Jones had kept his hand in many business ventures. He bought a couple of race horses and had his former trainer, Basil Foster, train them. The Davy Jones Presents record company released a number of singles, and a hip clothing store called “Zilch” was opened in Greenwich Village. Jones also opened a New York City-style enclosed street market for artists & artisans called “The Street” in Los Angeles. David wasted no time returning to the small screen after The Monkees disbanded. He teamed up with musical director Doug Trevor on a one-hour ABC television special entitled Pop Goes Davy Jones. He also appeared in many popular TV shows during the 1970’s such as Laugh-In, Love, American Style, The New Scooby Doo Movies and Walt Disney’s Wonderful World of Color. His most memorable television appearance during this time was on an episode of The Brady Bunch where he sang his single, “Girl”. Jones signed with Bell Records in 1971 and released one album, entitled Davy Jones, along with several singles including “Girl” (the theme song for the Sandy Duncan film, Star Spangled Girl). Throughout the 1970’s, David released solo singles as well for MGM and Warner Brothers. His love for the theatre was never far from his heart, and in 1973 David travelled back to England for a six-month engagement in the Peter Nicholl’s play, Forget-Me-Not-Lane. Later that year he reprieved his role as The Artful Dodger alongside Ron Moody in a production of Oliver! that opened at the Music Center in Los Angeles. In 1975 David teamed up with Micky Dolenz and The Monkees’ song-writing duo, Tommy Boyce &Bobby Hart to form Dolenz, Jones, Boyce & Hart.
The group performed to enthusiastic audiences all over North America, Japan, Singapore & Thailand. They released an album, a couple of singles, appeared on numerous television shows and starred in their own TV special. In 1976, Dolenz & Jones recorded a Christmas single with Peter Tork, entitled “Christmas Is My Time of Year”, produced by Chip Douglas. After DJB&H parted ways, Micky and David continued performing together, acted in a stage production of Tom Sawyer, and eventually moved to England to star in Harry Nilsson’s play, The Point. At the end of the decade, Jones formed his own band, Toast, and toured the U.S., Ireland & England. He also appeared on a couple of episodes of the British television series, Horse in the House and decided to stay in England.
1980s
The 1980’s started with a bang as Jones played sold out concerts in Japan to a whole new generation of Monkee fans. He also met and married his second wife, Anita Pollinger and they had two daughters, Jessica & Annabel. David finally got his jockey’s license, and on September 19, 1980, rode his first race aboard Speed of Light at Newberry Race Track. He continued to be a regular on the charity sports circuit and was proud to have completed the London Marathon in three hours, forty minutes! There were starring roles in many “pantos” such as Cinderella, Dick Whittington & Puss in Boots, and appearances on television shows such as the popular B.B.C. children’s game show, Puzzle Trail. David’s theatre work included The Boyfriend and the role of Jesus in the West End production of Godspell. At the start of 1986, David & Peter Tork toured Australia in a show called The Sound of The Monkees. Micky Dolenz wasn’t able to join them due to prior commitments, but did agree to a summer tour of the United States. Between the two tours a funny thing happened – the MTV Monkees Marathon! Another wave of Monkeemania took off and the summer tour that was originally set to last 6 weeks turned into a three year affair that travelled around the world. Davy Jones was once again a hot teen idol and The Monkees were seen on nearly every television show imaginable. They released a new Monkees album, Pool It, along with 4 singles. David was involved in projects outside of The Monkees during this decade, such as writing his autobiography, They Made a Monkee Out of Me, and releasing solo singles in Japan, Britain & Australia. While on tour with The Monkees, David recorded a solo album entitled, Incredible. Although at the time it was overshadowed by the immense success of the Monkees, this album has since been re-released and dubbed one of the great lost albums of the 1980’s. Jones made countless personal appearances in conjunction with the promotion of his book and appeared in two episodes of the hit television show, My Two Dads. The decade ended with The Monkees being awarded a star on the Hollywood Walk of Fame and David starring in another production of Oliver!, only this time he played the part of Fagin. His children felt it was about time he started acting his age!
1990s
David’s calendar remained full during the 1990’s as he was in high demand for television appearances such as on the B.B.C. show Trainer, ABC Afterschool Special, Florence Henderson’s Country Kitchen, Nashville Now, Herman’s Head, The Single Guy & Sabrina, the Teenage Witch. He landed the role of Vince Fontaine in a stage production of Grease that co-starred Sally Struthers. David also reprised his role on The Brady Bunch in a stage version of the show. He co-wrote the award-winning book, Mutant Monkees Meet the Masters of the Multi-Media Manipulation Machine!, that featured the work of progressive computer graphic artists. In 1994 Jones once again toured with Dolenz for over a year. 1995 was a huge year that saw David & Micky reunite with Peter Tork in an episode of the television show, Boy Meets World, as well as in The Brady Bunch Movie and in a Pizza Hut commercial with Ringo Starr. Michael Nesmith joined his fellow Monkees for a presentation of their platinum and multi-platinum album awards at The Hard Rock Café in Los Angeles. Soon plans for a Monkees 30th reunion were underway. In the next couple of years, there would be a documentary on the band produced by Disney, a television special produced by Nesmith that spoofed the original show, a new Monkees’ album entitled Justus that was completely written, played, sung & produced by the four members. An exclusive record release concert in Hollywood and subsequent tour of Britain was the first to include all four members since 1968. The North American leg of the tour didn’t include Nesmith, but that didn’t slow down the newest wave of Monkeemania. David continued to record on his own and released a Christmas album, solo album and a four-volume CD compilation of demos, outtakes and other rare material from throughout his career, entitled Just for the Record. In 1998 he joined Peter Noone & Bobby Sherman for The Teen Idols Tour. Jones won the Speedway Children’s Charities Celebrity Classic Golf Tournament in 1999. Even with all these achievements, David always claimed that his proudest moment happened on February 1, 1996. It was on that day, at age 50, that David won his first horse race aboard Digpast, a horse owned by his daughter, Sarah. The one-mile Ontario Amateur Riders Handicap took place at Lingfield in Surrey.
2000s
The new century saw David as busy as ever. He appeared on television shows such as 48 Hours, Hey Arnold, Meet the Royals, Living in TV Land and SpongeBob SquarePants. He had a cameo in Goldberg – P.I., sang the theme song for Sexina and was interviewed for countless television and radio programs as well as printed publications. He updated his autobiography and re-titled it Daydream Believin’. In 2001 David, Micky & Peter reunited for The Monkees’ 35th anniversary tour. The Monkeemania tour continued the following year without Peter. David was also busy recording his own music and released the album, Just Me in 2001. He also released a live album, a millennium mix version of “Daydream Believer”, a string of singles and his final album, a collection of standards, entitled She. The Davy Jones Band had a full roster of shows during this time, including the yearly Flower Power Concert Series during Epcot’s Flower and Garden Festival. In 2006 he recorded the single “Your Personal Penguin” which has since become a classic kid’s favorite. Written by children’s author & artist, Sandra Boynton, the song was a companion piece for a book of the same title. In 2008, Jones was named the number one teen idol of all time by Yahoo Music. David continued to act in “pantos”, taught motivational seminars, made a vast number of personal appearances and starred in a number of television commercials. He began training horses and had stables in Beavertown, Pennsylvania and Indiantown, Florida. Jones, the self-dubbed Manchester Cowboy, served as the commercial spokesman for Colonial Downs racetrack in Virginia. Personally, David welcomed three grandchildren into his life, Harrison “Harry” & Lauren “Lolo” McFadden and Phoenix Burrows. In 2009 he married again. 2011 marked The Monkees’ 45th anniversary and this brought David, Micky & Peter back together for another tour that boasted the best critical reviews of their career up to that point! Continued syndication of the show, DVD releases of the episodes and online viewing from sites such as YouTube created yet another new generation of fans. David was a loving father & grandfather who never stopped working, dreaming, and always remained accessible to his fans. He passed away on February 29, 2012 after doing what he loved best – being aboard his favorite riding horse, Zar and surrounded by his beloved herd. Stories of the incredible generosity David Jones showed throughout his life paint a vivid picture of the man beyond the celebrity. The Manchester Cowboy touched many lives, brought immense joy to millions and created a legacy that will live forever – Ride On!
TV APPEARANCES
| Peter Tork |
What was the name of the Independent Counsel who investigated the death of White House Counsel Vince Foster, the Whitewater real estate investment scandal, and Bill Clintons less than stellar grasp of the truth, ultimately leading to Clinton's impeachment? | Micky Dolenz on Davy Jones: 'We Just Kind of Hit It Off'
Micky Dolenz on Davy Jones: 'We Just Kind of Hit It Off'
Katie Kindelan
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At the height of his success, Davy Jones could set girls screaming but the Monkees frontman was just as excited by his own fame, his friend and bandmate Micky Dolenz recalled.
“We shared a house together in the early days and we were driving up to and parking in front of our house and listening to the radio and it was Monkee Day and all of a sudden ‘Last Train to Clarksville’ came on,” Dolenz said, referring to the band’s debut single. “He said, ‘Whoa, that’s us.’”
Dolenz appeared on “ Good Morning America ” today to remember Jones, the lead singer of The Monkees who died Wednesday morning at the age of 66 after suffering a heart attack at his home in Florida.
“None at all,” Dolenz said when asked if he had any hints that Jones might be sick . “He’s a vegetarian. He was always outdoors with horses.”
“His mom, I remember, passed on when he was very young and then his father also passed on in the very early days of the Monkees and I believe it was a heart attack. So I believe maybe there was some genetic issue, but nothing we ever knew about,” he said.
Dolenz said he and Jones remained in close touch to the very end, most recently performing together in a reunion tour last year throughout the U.K. and the U.S. that was one of their biggest.
“The shows got some of the best reviews we’ve ever gotten, even from Rolling Stone,” Dolenz said.
Dolenz and Jones first met in the 1960s when they were cast alongside Peter Tork and Michael Nesmith in The Monkees, the band formed as part of a TV series about a rock band also called “The Monkees.”
“I remember him very well from the very early auditions. I think it’s because we both had very similar backgrounds,” Dolenz said. “He’d been on Broadway as Oliver, I’d had a series called ‘Circus Boys,’ so we knew the business, so we just kind of hit it off.”
The show was canceled in 1968 but it cemented the four men, particularly Jones, as teen idols and remained a cult classic well past its cancellation, fueled by the reunion tours and memorabilia.
“On the television show we were never successful, so that endeared us, I think, made it real to a lot of kids,” Dolenz said. “It was about the struggle for success and it spoke to all the bands, all the garage bands, all the kids around the world who were in their living rooms, in their basements trying to become successful.
“The closest thing that’s come down the pike since the Monkees, I think, is ‘Glee’ which is a show about an imaginary glee club, but they’re good, they can actually do it,” he said.
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The directions to what location are either “second to the right and straight on till morning’ (according to the book), or ‘second star to the right, and straight on till morning’ (says the film)? | Neverland – Neverpedia, the Peter Pan wiki
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Illustration of Peter Pan playing the pipes, with Neverland in the background by F D Bedford, from the novel Peter and Wendy published in 1911
Neverland (also spelled Never Land and also known as Never Never Land) is a fictional world featured in the works of J. M. Barrie and those based on them. It is the dwelling place of Peter Pan , Tinker Bell , the Lost Boys , and others. People in Neverland may cease to age, and its best known resident famously refused to grow up, so it is often used as a metaphor for eternal childhood (and childishness), immortality, and escapism. Neverland has been featured prominently in subsequent works, either adapting Barrie's works or expanding upon them. These Neverlands sometimes vary in nature from the original, which seems fitting as Barrie originally described them as doing that.
Contents
5 See also
Name
The name was possibly inspired by the contemporary term for outback Australia: the Never Never. Barrie wrote that "the Neverlands" are not all alike, and even he couldn't seem to make up his mind what the proper name of the place was. In the earliest drafts of the play and the program for the original 1904 production, the island was called "Never Never Never Land"; the characters in the play itself referred to it as "the Never Never Land". This version of the name caught on, and it is widely known that way. In his 1911 novelization Peter and Wendy , Barrie referred to "the Neverland", and its many variations were "the Neverlands". In the 1928 published version of the script, it was written as "the Never Land", and Disney appears to have standardized on "Never Land".
Nature
Disney's Neverland
The novel explains that the Neverlands are found in the minds of children, and that although each is "always more or less an island", and they have a family resemblance, they are not the same from one child to the next. For example, John Darling 's "had a lagoon with flamingos flying over it" while his little brother Michael 's "had a flamingo with lagoons flying over it". The novel further explains that the Neverlands are compact enough that adventures are never far between. It says that a map of a child's mind would resemble a map of Neverland, with no boundaries at all.
According to the authorized 2006 sequel Peter Pan in Scarlet , the island was pushed up from the ground by imagination. The unauthorized 2004 prequel Peter and the Starcatchers presents it as a normal island, named by Peter after the Never Land, the sailing vessel on which he was sent away from civilization.
Neverland waking up to Peter Pan's return in the 2003 film Peter Pan
In Barrie's original tale, Peter led Wendy and her brothers to Neverland by flying "second to the right, and then straight on till morning." for many days, though it is stated in the novel that Peter made up these directions on the spot to impress Wendy, and that they found the island only because it was out looking for them. In the 1953 Disney film, Peter Pan , the word "star" is added to the directions Peter speaks: "second star to the right, and straight on till morning." That phrase is widely quoted, and was used again in the 1991 movie Hook . Inexplicably, the 1988 direct-to-video adaptation changes it to "first on the left and straight on till morning". In Peter Pan in Scarlet, the children get to the Neverland world by flying on a road called the High Way, and the island is located in a sea known as the Sea of One Thousand Islands.
The passage of time in Neverland is ambiguous. The novel Peter Pan mentions that there are many more suns and moons there than in our world, making time difficult to track. Although widely thought of as a place where children don't grow up, Barrie wrote that Lost Boys eventually grew up and have to leave, and fairies there lived typically short lifespans. According to Peter Pan in Scarlet, time froze to the children as soon as they got into Neverland.
Locations
Most of the adventures in the stories take place in the Neverwood. The Lost Boys build the Wendy house here, and it is also the location of the Home Underground, where Peter and the Boys reside. There are many entrances into the underground home. Hollowed-out trees are made to fit every Lost Boy in Peter's ranks, and there is a small Nevertree in the middle of the large room that grows every day. Peter and the children use it as a table to eat on, then they cut it when it has grown too large. In Peter Pan in Scarlet, Peter lets the Nevertree grow too large, and it grows out of the roof. It then picks up the Wendy House and lifts it into the air.
The mermaids lounge around in the Mermaid Lagoon without a care in the world. This is also the location of Marooner's Rock. It is not safe for mortals to visit Mermaid Lagoon at night. This is the most dangerous place in Neverland.
Slightly Gulch - where a great battle took place against the Redskins, during which Peter Pan decided to switch sides for the "fun" of it
Neverpeak Mountain is the huge mountain that is right in the middle of Neverland. According to Peter Pan in Scarlet, when a child is on top of Neverpeak Mountain, he or she can see over anyone and anything and can see beyond belief.
The Maze of Regrets is a maze in Peter Pan in Scarlet where all the mothers of the Lost Boys go to find their boys. This was thought to be a maze of witches before the League of Pan ran into Mr. Smee.
Pixie Hollow is where Tinker Bell and her tiny fairy friends live and dwell in Disney's Tinker Bell movies and related books.
The Indian Mountain - the location of the encampment in Hook & Jill to which the natives of the Neverland withdraw after the harvest, or when threatened by unfriendly forces
The Fairy Glade - the home of the Neverland fairies in Hook & Jill
Neverbay - the location where the Jolly Roger anchors in Hook & Jill
The Clearing (House in the Clearing) - the place in the forest where the Wendy House stands in Hook & Jill, later built up as a home for a new family comprised of Indians and former Lost Boys.
Croc's Grotto - the name of the crocodile's lair in Hook & Jill
Inhabitants
Fairies
There are fairies in Neverland, and they are the primary magic users of Neverland. They are allied to the Lost Boys and against the pirates. The most famous is Tinker Bell , the companion of Peter Pan .
In the part of the story where Peter Pan and the lost boys built a house for Wendy on Neverland, Peter Pan stays up late that night to guard her from the pirates, but then the story says: 'After a time he fell asleep, and some unsteady fairies had to climb over him on their way home from an orgy. Any of the other boys obstructing the fairy path at night they would have mischiefed, but they just tweaked Peter's nose and passed on.' Disney Fairies Never fairies and sparrow men live in a little place called Pixie Hollow in the heart of Never Land. After Wendy left, Tinker Bell was still a little mad at Peter so she went back to her old home in The Pixie Hollow.
Lost Boys
The Lost Boys are a tribe of boys in the Neverland. They reside in the Home Under the Ground (entered by way of hollow trees) and live for adventure. They are a formidable fighting force despite their youth and they make war with the pirates as well as the Redskins (prior to their befriending them on account of Pan saving Tiger Lily from Hook.) Their leader is Peter Pan .
Pirates
The crew of the pirate ship Jolly Roger have taken up residence off-shore, and are widely feared throughout Neverland. Their captain is the ruthless James Hook . How they came to be in Neverland is unclear.
Redskins
There is a tribe of wigwam-dwelling American Indians who live on the island, who refer to themselves as 'Redskins', although Barrie himself referred to them as the Piccaninny tribe. They have an imposing tribal chief, whose daughter, the princess of the tribe, is called Tiger Lily , and she has a crush on Peter Pan. The Redskins are known to make ferocious and deadly war against Captain Hook and his pirates, but their connection with the Lost Boys is more lighthearted. For 'many moons' the two groups have captured each other, only to promptly release the captives, as though it were a game. It is also unclear how the Redskins came to be in Neverland; they may have gotten there through shamanistic rituals. They have apparently been in Neverland for some time though, as it is stated they know Neverland better than anyone.
Mermaids
Mermaids live in the lagoon. They enjoy the company of Peter Pan but seem malevolent towards anybody else, including the fairies. In J.M Barrie's world mermaids are not as they are in story books, they are 'dark and dangerous creatures in touch with all things mysterious'.
Animal Kingdom
Various wild beasts live throughout the Neverland, such as ostriches, wolves and bears.
See also
Neverland Ranch , property owned by Michael Jackson from 1988 to 2005.
Uses some licensed material by Wikipedia editors.
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What does a funambulist walk on? | Neverland | Disney Wiki | Fandom powered by Wikia
“Second star to the right and straight on till morning.”
―Peter Pan's directions to Neverland.
Neverland is the main location in the Walt Disney's 1953 film Peter Pan and its spin-offs. It is a magical world that exists within a star which Peter Pan refers to as "the second star to the right, and straight on till morning!" Although reputed to prevent people from "growing up" from kids to adulthood, it is implied with Captain Hook's pirate crew and the Red Indians that adults are present in this location. Though not officially stated, it's been implied that the longer one stays in Neverland the harder it is for them to recall their former life outside it till they forget about their past completely. An example of this is in the first film in which Michael Darling begins to forget what his mother, Mary , was like (to the point where he mixes her up with Nana , describing Mary as a creature with long ears and fur coat). This discovery convinces Wendy that she and her brothers have to go home. Another was when Jane, who forgot about her family, remembers when she held Toodles , who reminded her of her younger brother.
In the first film, it seemed to have been implied that because of the fact that Mr. Darling both sounds like and resembles Captain Hook, Wendy may have been subconsciously associating her father's antagonism towards her and her stories with Hook's vendetta against Peter Pan; this suggests that Never Land was implied to have been merely dreamed up by Wendy in the first film (similar to Alice 's dream of Wonderland in Alice in Wonderland ), however the presence of a cloud resembling Hook's ship in the ending and Mr. Darling revealing that the ship looked familiar to him appeared to imply otherwise. The second film , however, put the doubt to rest when an adult Wendy and Peter Pan are reunited, showing that Never Land was all too real.
Contents
Inhabitants
Fairies
Fairies , both male and female, are arguably the most important and most mystical beings in all of Never Land, and its primary magic users and fairy dust. A property of their nature is the production and possession of fairy dust, the magic material which enables flying within the story for all characters. They are allied to the Lost Boys and against the pirates. The most prominent and famous fairy is Tinker Bell , Peter Pan 's companion, whose name alludes to her profession as a "tinker" or fixer of pots and pans.
The Disney Fairies Peter Pan franchise has elaborated on aspects of Barrie's fairy mythology. The "Never fairies" (and associated sparrow men) live in Pixie Hollow, located in the very heart of Neverland. As stated in the original Tinker Bell movie, after a baby's first laugh breaks into numerous (bubble-looking) pieces, any piece that can blow with the wind mixed with a white dandelion and survive the trip to Pixie Hollow becomes a fairy, who then learns his/her specific magical abilities and innate talents.
Birds
In the novel and the play, between the flight from the mainland (reality) and the Never Land, they are relatively simple animals which provide entertainment, instruction and some limited guidance to flyers. These Birds are described as unable to sight its shores, "even, carrying maps and consulting them at windy corners".
A half-magical bird called the Never Bird , is also very prominently featured in the novel and play.
Lost Boys
The Lost Boys are a tribe of "children who fell out of their prams when the nurse is not looking", and who, having not been claimed by humans in seven days, were collected by the fairies and flown to the Neverland. There are no "lost girls" because, as Peter explains, girls are much too clever to fall out of their prams and be lost in this manner. There are six Lost Boys: Tootles, Nibs, Slightly, Curly and the Twins. They live in tree houses and caves, wear animal skins, bear spears and bows and arrows, and live for adventure. They are a formidable fighting force despite their youth and they make war with the pirates, although they seem to enjoy a harmonious existence with the other inhabitants of Never Land. Their leader is Peter Pan .
Pirates
The crew of the Pirate ship Jolly Roger have taken up residence off-shore, and are widely feared throughout Never Land. How they came to be in Neverland is unclear. Their captain is the ruthless James Hook , known as Captain Hook, named after (or predestined for) the hook in place of his right hand, and who is obsessed with finding Peter and his Lost Boys' secret lair and exacting revenge for the loss of his hand.
Native American tribes
There is a tribe of wigwam-dwelling Native Americans who live on the island. They have an imposing tribal chief Great Big Little Panther whose daughter Tiger Lily is the princess of the tribe. She has a crush on Peter Pan. The Piccaninny tribe are known to make ferocious and deadly war against Captain Hook and his pirates, but their connection with the Lost Boys is more lighthearted. For "many moons" the two groups have captured each other, only to promptly release the captives, as though it were a game. It is unclear how the Piccaninny tribe came to be in Never Land, although they seem to know Never Land better than anyone.
But it is said that Native Americans are born someplace else than Never Neverland. But some Native Americans are born in Never Never Land.
Mermaids or Mermen
Mermaids and even mermen live in the lagoon. They enjoy the company of Peter Pan but seem malevolent towards everybody else, including the fairies, and show a particular dislike of Wendy, who is Peter's "special" female interest. They are hedonistic, frivolous and arrogant; they "sing" and play the "mermaid games" all day, like blowing bubbles, and they "love to bask out on Marooners' Rock, combing their hair in a lazy way". Wendy is enchanted by their beauty, but finds them offensive and irritating, as they would "splash her with their tails, not accidentally, but intentionally" when she attempted to steal a closer look. They occupy rock-pools and the ocean surrounding Marooners' Rock, and their homes are "coral caves underneath the waves" to which they retire at sunset and rising tide, as well as in anticipation of storms.
Animal kingdom
Animals live throughout Neverland, such as bears , tigers, lions, wolves, flamingos and crocodiles. The airing of the Disney Fairies computer-animated movies reveal more animals most of which are woodland creatures. Rabbits, squirrels, bats, mice, a few species of arthropods, bluebirds, pigeons or doves, snowy owls, weasels, lynxes, even bison are seen in different regions of the movies' primary setting, Pixie Hollow. Some of these animals are domesticated by the fairies and used either as transport or work animals. Some even leave Neverland when the fairies go to change the season, to be released on earth.
Places of Interest
Hangman's Tree : A large, but dead tree located in Neverland, it serves as the entrance to the home of Peter Pan and the Lost Boys . The tree has multiple trap doors and secret entrances for Peter Pan and the boys to enter and exit through.
Mermaid Lagoon : As the name suggests, this area is home to a large group of mermaids. Peter Pan apparently travels here often, as they are noted fans of his.
Skull Rock : Located along the sea, this area is marked by a large rock formation in the shape of a skull. Captain Hook and Mr. Smee bring Tiger Lily here while interrogating her.
Indian Camp : This is where Tiger Lily and her tribe are located. There are multiple tepees here, which serve as homes for the tribe.
A large bay is the anchoring spot for Captain Hook's ship . One end is open towards the sea.
Crocodile Creek : The home of the crocodile who ate Captain Hook's left hand. It is also said to be the location of a hidden treasure. The very mention of Crocodile Creek makes Hook very nervous.
Peg Leg Point: Mentioned only when Tinker Bell is giving directions to Peter Pan's hideout.
Blind Man's Bluff: Mentioned only when Tinker Bell is giving directions to Peter Pan's hideout.
Cannibal Cove: Mentioned only when Captain Hook says he searched there in an attempt to find Peter's hideout. As its name would suggest, it is inhabited by cannibalistic jungle natives.
Marooners' Rock: Mentioned only when Peter Pan is about to tell the mermaids the story how he cut Captain Hook's left hand and fed it to the crocodile.
Dead Man's Cave: The location only appears in the sequel Return to Neverland, Peter Pan hides Captain Hook's treasure within the cave.
Pixie Hollow : First mentioned and seen in the Disney Fairies movie series. It is home realm to all of the hundreds of fairies of Never Land. All new fairies are born there and discover their innate magical talents and skills there. It is Tinker Bell's main birthplace long before meeting Peter Pan and his gang of Lost Boys.
Pirate Island : The home of pirates Jake , Izzy , Cubby and Skully . It is located just off the shores of Never Land.
Never Land Jungle : A thick woods in Never Land. It is full of palm trees and monkeys.
Tiki Forest : A wood full of trees with tiki faces who are capable of speaking.
Kingdom Hearts Birth by Sleep
Mickey finds himself in Neverland, and while exploring the Indian Camp, he stumbles upon Vanitas , who abducts him.
Ventus arrives at the Seacoast and falls asleep while resting. He wakes up when the Lost Boys and Tinker Bell find him, and Tinker Bell tries kicking him awake. When they head off to find a shooting star that Tinker Bell saw, he tags along.
In the meantime, Terra arrives at the crest of the Rainbow Falls, where he finds Captain Hook and Smee being attacked by Unversed. After Terra defeats the Unversed, Hook tells Terra of a young boy who is trying to steal the "light" inside Hook's chest. Terra agrees to help keep the chest safe from Peter Pan , and the three head to the Cove, where they take a boat to Skull Rock. Hook leaves Terra inside the Cavern to guard the chest, while he and Smee go after the shooting star, which Hook hopes to be treasure.
When Ven, the Lost Boys, and Tinker Bell meet up with Peter Pan at the Jungle Clearing, he and the Lost Boys head off in search of pirate treasure, while Ven and Tinker Bell continue looking for the shooting star. They arrive at the Indian Camp, where they find Mickey's Star Shard, but Hook takes it and kidnaps Tinker Bell. Hook demands that Peter Pan meets him at Mermaid Lagoon and runs off, leaving Ventus to fight off a group of Unversed.
Back at Skull Rock, Peter Pan distracts Terra while the Lost Boys go after Hook's treasure chest. They drop the chest in their escape, and Terra is surprised to find that the chest contains pirate loot. He apologizes and tells Peter where Hook went, and Peter rushes off to save Tinker Bell, leaving the Lost Boys to watch the chest. As Terra leaves, the Boys are attacked by Unversed, and Terra returns to take them out. The Boys hide when Hook returns with the captured Tinker Bell, who Terra frees. Hook runs off at the sound of the Crocodile . Before leaving, Terra tells the Lost Boys to put their precious possessions into the now-empty chest.
Ventus meets up with Peter Pan at the Gully, and they head for the Mermaid Lagoon, where they are fired upon from Hook's ship. Tinker Bell catches up with them during the chaos, and Peter takes her to stop the cannon fire while Ven goes after Hook, who he finds in the Cove. Hook is enraged to discover that Peter survived, and he takes on Ven while the Crocodile circles them in the water. When Hook is defeated, he falls in the water, and the Crocodile chases him away. Peter arrives with the Lost Boys and their empty treasure chest. Slightly suggests they put their own special possessions in the chest, and Peter Pan agrees. Ventus puts his cherished wooden Keyblade in the chest. He takes the recovered Star Shard from Tinker Bell, and it quickly whisks him away.
Aqua is the last one to arrive. She meets Peter Pan, the lost boys and Tinker Bell. They tell her that because she found their treasure map she has be the leader and go on their treasure hunt with them. They soon find out that Captain Hook stole their treasure once again, realizing that it was all junk in the chest he abandons it and leaves. Aqua finds the wooden Keyblade and Peter tells her Ven left it behind. She then senses another presence nearby and runs to the Indian Camp only to be confronted by Vanitas who is holding Ventus' wooden Keyblade. He then tells her that Ventus no longer needs it, and callously snaps it in two, much to Aqua's outrage. He then proceeds to tell her that since Ventus has gotten stronger, he no longer needs her as his so-called "Plan B". Aqua then battles and defeats him in a fight, but passes out soon afterwards. She is then awakened by Peter where she talks a bit about Ven and Terra. She departs soon after.
Some time after Master Xehanort's defeat, Peter Pan, Tinker Bell, and the Lost Boys get their treasure back, and when Peter discovers that Hook and Smee are watching them, he flies over and steals Captain Hook's hat.
Kingdom Hearts
Once Riku has captured Jasmine , Maleficent reveals Kairi 's whereabouts. Riku travels to Neverland with Captain Hook, and he finds an unconscious Kairi on top of the Clock Tower. Wishing to wake up Kairi, Riku goes to Monstro and attempts to steal Pinocchio's heart, but his plan is foiled by Sora , and he returns to Captain Hook's ship, where Kairi's lifeless body now lies. Maleficent meets him there, and gives him the ability to control the Heartless .
Later on, Sora and company are captured by Captain Hook, and they encounter Riku, who explains that while Sora was off goofing around he has been able to find Kairi. Riku, demonstrating his newfound powers, creates AntiSora before Sora falls through a trap door. Below deck, Sora, Donald , and Goofy meet Peter Pan, who is trying to rescue Wendy , who is being held on the ship. They traverse through the ship, eventually fighting off AntiSora and finding Wendy, and Peter flies off with Wendy. In the meantime, Riku escapes with Kairi, leaving Captain Hook to fight Sora and Peter Pan, who returns after taking Wendy to safety. Captain Hook is thrown overboard by Sora and Peter Pan, and he is chased towards the horizon by the Crocodile. Peter Pan and Tinker Bell take Sora to the Clock Tower, where Wendy is waiting. Sora repairs one of the clock faces, which reveals the Neverland Keyhole . Sora seals it with his Keyblade , and bids farewell to Peter Pan, but not before Peter asks him to look after Tinker Bell, who becomes one of Sora's summons .
When the Final Keyhole is completed at Hollow Bastion , several powerful Heartless escape. One of them, the Phantom, finds its way to the Clock Tower. When Sora returns to Neverland, Tinker Bell asks for his help in defeating the powerful Heartless, and takes him to the Clock Tower. After a long and difficult battle, the Phantom is finally defeated and Neverland is safe again.
Note: Although the world is called "Neverland", the actual setting is technically on Captain Hook's pirate ship and London, England instead of Neverland.
Kingdom Hearts: Chain of Memories
A memory version of Captain Hook's ship is created inside Castle Oblivion . In this recreation, Captain Hook has captured Wendy as bait to lure Peter Pan to his doom. Sora, Donald and Goofy meet Peter and decided to help him rescue her. However, when Wendy tells Peter that she wishes to return to London, even if it means growing up, he leaves. Forced to save her themselves, Sora and co get outside the ship and meet Captain Hook, who has forced Wendy onto the plank. However, before he can make her jump off, Peter returns and rescues her. After the defeat of Captain Hook, Sora and Wendy encourage Peter to believe that even though people forget memories when they get older, they can still remember them when the time is right.
Kingdom Hearts 358/2 Days
Roxas talking to Tinker Bell aboard Captain Hook's ship.
Roxas is ordered to venture into the world of Neverland for the first time on Day 174. It is the 8th world he is sent into, and he travels there by himself in order to take down a Wavecrest. Once there, he encounters Captain Hook and his first mate Mr. Smee , both of whom are looking for buried treasure following a pile of maps. The treasure they had recently found, similar to a dozen or so they had dug up prior to Roxas' arrival, is empty. Hook becomes frustrated with their lack of success and believes someone else might get the treasure. Heartless appear a moment later, drawn by Hook's greed.
The Captain and Smee flee at the sight of the heartless, leaving Roxas to eliminate it. Roxas then turns to inspect the "treasure", and is rather confused at the Heartless' appearance next to it. He suspects Hook had something to do with the heartless emerging, as his rising emotion made him seem "off". Wanting to further inspect what happened, he approaches their ships. Tinker Bell then flies along, and Roxas experiences another vision of the boy in red who had apparently met Tinker Bell before. She urges him to follow her to the ship, and as Roxas lacks the ability to fly, she grants it to him. Roxas believes he can fly, and a vision of the boy in red comes to him showing him how to do so. The sensation is curiously enough familiar to Roxas, like it wasn't the first time he flew. It also seemed like Tinker Bell believed in him, as though she knew he'd be able to fly with her help. Despite this, Roxas decides to follow his orders and not follow Tinker Bell to Hook's ship. He completes the mission and is anxious to share with Axel and Xion the things that transpired.
On Day 195 he is accompanied on a mission to Neverland with Axel . At first Roxas is unable to fly, and soon realizes he needs Tinker Bell's help. Axel and Roxas notice Hook and Smee nearby, digging up more Heartless infested chests. They retreat to the ship and decide to fire the cannons. Roxas tells Axel about what he knows of Hook and Smee's story, and they decide to check the spots already dug at in the hopes of finding their targets, Artful Flyers.
They find Tinker Bell at the site, who is enraged at Roxas for not helping her out before. She decides eventually to help the two fly in the hopes they would help her. In an attempt to follow Roxas's example, Axel tries to fly, but fails. Roxas encourages him, and because he believed in his friend's words, Axel becomes able, much to his own surprise and excitement. Axel then stops Roxas from following Tinker Bell, and the two go about completing their mission while dodging cannonballs shot from Hook's ship. Once the mission is over, Axel and Roxas return to the Castle That Never Was, right in time to miss Pete's entrance to the scene. It seems the maps Captain Hook found were placed by Pete in order to fuel the Captain's greed, and by doing so, Pete could rally an army of powerful Heartless drawn to that greed. He doesn't obtain the heartless though, as they were eliminated by Axel and Roxas.
On Day 300, Roxas finds his appointed mission a bit more difficult, for he cannot fly, and Tinker Bell has been captured by Captain Hook and Smee. Helping the one that helped him earlier, Roxas decides to not complete the mission until Tinker Bell is safe. Hook has apparently been tearing apart every map that proved to be useless before heading on to the location shown on the next map. He believes that amongst the fake maps is one that leads to a real treasure, and that the "dummies" were a means of protecting it. Therefore, if he kept making Smee dig, he would get his treasure.
Roxas finds that Tinker Bell has been locked in a lantern on hook's desk, so he hides and waits for Smee and Hook to leave before he sets her free. After he releases her, Roxas turns away in order to return to his mission, only to be stopped by Tinker Bell. He then gets a momentary vision of the boy in red, which convinces Roxas stay with Tinker Bell for a while longer. They discover the map pieces Hook no longer had interest in, and Tinker Bell helps Roxas fly once more so he could look into the spots marked on the maps. Roxas collects the rest of the pieces from across the ship and digs at the appointed spots, but does not find any Heartless . He realizes Hook was the one who drew the Heartless, so he tracks him down. Upon finding Hook, the Phantomtail Roxas was sent to exterminate appears.
Pete appears just as Roxas leaves again and reaches the conclusion that despite how much Hook has been digging, there aren't Heartless nearby because someone was eliminating them. Pete then decides to turn to his final resort, offering the Captain a real treasure. This makes Hook's greed grow, allowing Pete to summon a Heartless to fight.
The final battle in Neverland takes place on Day 301, where upon arrival Tinker Bell rushes to Roxas's side and grants him flight in order for him to reach Hook and Smee. The two are digging up the "treasure" buried where the last map they have led them to. True to Captain Hook 's suspicions, the final map led them to a decorated treasure chest filled with valuables and several weapons made of solid gold. Hook's greed grows and is absorbed into the treasure, giving birth to the skeletal dragon Heartless fittingly named Ruler of the Sky.
Hook and Smee run away, thus clearing the stage for Pete to make his entrance. Enraged at Roxas's interference with his plans once more after what happened between them in Agrabah , he commands the Ruler of the Sky to attack Roxas. After the battle, the defeated Heartless crashes into Hook's ship and destroys it, much to Tinker Bell's amusement. The Ruler of the Sky's captive heart is then released. Pete, enraged at his defeat, escapes the scene, and Roxas is free to leave Neverland.
Kingdom Hearts coded
After discovering Data-Riku in the Destiny Islands room of the Datascape 's Castle Oblivion , Data-Sora is shown a memory of Riku looking up at the moon on top of Big Ben. He reaches out, pretending to grab at the moon before looking back at a catatonic Kairi.
Once Upon a Time
In ABC's Once Upon a Time, Captain Hook uses a magic bean he stole from Rumpelstiltskin by tossing it into the ocean in order to take himself and his ship's crew to Neverland. He states it is a place where no one ever ages or grows old ( Wendy says the same thing later), but it of course is a mistruth. In order to enact his revenge on Rumplestiltskin, Captain Hook returns from this world sometime before the Dark Curse is cast. In Second Star to the Right , Never Land has become very dark and foreboding, and if magic is brought back to Earth from there, very bad things will happen. Here, it gets its name because once someone sets foot there, they can never leave instead of never aging. The island is, however, male-only (the Shadow allows Wendy to leave). Wendy is later found there as Peter Pan 's prisoner.
Gallery
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Who is the current Secretary-General of the United Nations? | Who is the current Secretary-General of the United Nations? | Reference.com
Who is the current Secretary-General of the United Nations?
A:
Quick Answer
Ban Ki-moon is the Secretary-General of the United Nations as of 2014. He came into office Jan. 1, 2007, and he started his second term after being unanimously reelected on June 27, 2011. His present term will end on December 31, 2016.
Full Answer
Ban was born in North Chungcheong province in Japanese-controlled Korea on June 13, 1944. When the Korean War broke out when he was six years old, Ban and his family were forced to hide on a remote mountainside. "I grew up in war and saw the United Nations help my country to recover and rebuild," said Ban of his childhood.
Ban's family eventually returned to Chungcheong. In high school, Ban excelled at English, and he won a Red Cross essay contest that let him live in San Francisco for several months. He also met President John F. Kennedy during the trip, and when a journalist at the event asked Ban what he wanted to be when he grew up, he replied that he wanted to become a diplomat.
Ban fulfilled his career goal. Before becoming secretary general, Ban served for 37 years with Korea's Ministry of Foreign Affairs and eventually became Minister of Foreign Affairs and trade. As secretary general of the UN, Ban has since focused on advocating for women's rights, environmental protection and sustainable development, accountability for human rights violations, supporting countries recovering from natural disasters and making the UN more transparent and efficient.
| Ban Ki-moon |
What disease does the DSM-IV define as: (1) has a grandiose sense of self-importance (2) is preoccupied with fantasies of unlimited success, power, brilliance, beauty, or ideal love (3) believes that he or she is "special" and unique and can only be understood by, or should associate with, other special or high-status people (4) requires excessive admiration (5) has a sense of entitlement, (6) is interpersonally exploitative (7) lacks empathy: is unwilling to recognize or identify with the feelings and needs of others (8) is often envious of others or believes that others are envious of him or her (9) shows arrogant, haughty behaviors or attitudes | Selecting the United Nations Secretary-General | United Nations Blog
Selecting the United Nations Secretary-General
Posted on
by Social Media Team
2016 will see the selection of a new Secretary-General of the United Nations, as Ban Ki-moon’s second term ends on 31 December 2016. Even though there is no limit to the number of terms a Secretary-General may serve, none has held office for more than two terms.
But how does it all work? We explain the appointment process here:
1. How is the Secretary-General selected?
According to article 97 of the UN Charter , “The Secretary-General shall be appointed by the General Assembly upon the recommendation of the Security Council.”
This rather general description has been further specified by a range of General Assembly resolutions and the Security Council Rules of Procedure. So this is what happens:
Nominations
There is no detailed outline for the nomination process. All UN Member States are encouraged to engage and the President of the Security Council is supposed to consult with the General Assembly on a regular basis. Furthermore, the President of the General Assembly has the right to consult with Member States and recommend potential candidates to the Security Council . Nominations have traditionally been made mostly my Member States though there is no rule governing who can make a nomination.
As for the timeframe, the candidate should ideally be appointed one month prior to the end of the current term (General Assembly resolutions 51/241 from 1997 and A/Res/60/286).
Security Council
United Nations Security Council (file photo). UN Photo/Rick Bajornas
In the first stage of a two-step process, the Security Council adopts a resolution recommending a candidate to the General Assembly. Even though technically there is no limit to the number of recommendations, it has been practice to nominate one candidate only (in line with GA resolution 11 (I) of 1946). If more than one candidate is being considered, balloting will be conducted.
The negotiations take place in closed session, as outlined in Rule 48 of the Provisional Rules of Procedure of the Security Council.
The decision requires at least nine votes in favour, including those of the 5 Permanent Members . Therefore, China, France, Russia, the UK and the US have a de-facto veto power (confirmed by GA resolution 11 (I) of 1946).
General Assembly
United Nations General Assembly (file photo). UN Photo/Eskinder Debebe
In a second step, the General Assembly considers the candidate nominated by the Security Council and votes upon him or her. This deliberation also takes place in a closed session, as required by Rule 141 of the Rules of Procedure of the General Assembly . The nominee requires a simple majority to be selected.
2. Who were the previous Secretaries-General?
Trygve Lie (Norway), February 1946 to his resignation in November 1952
Dag Hammarskjöld (Sweden), April 1953 to his death in a plane crash in September 1961
U Thant (Burma/Myanmar), November 1961 to December 1971
Kurt Waldheim (Austria), January 1972 to December 1981
Javier Pérez de Cuéllar (Peru), January 1982 to December 1991
Boutros Boutros-Ghali (Egypt), January 1992 to December 1996
Kofi Annan (Ghana), January 1997 to December 2006
3. Who will be the next Secretary-General?
Obviously, nobody knows yet.
However, there are some indicators: General Assembly resolution 51/241 from 1997 stressed the importance of regional and gender balance. Since Eastern Europe is the only UN regional group that from which a Secretary-General has not been selected, resulting in speculation that a candidate from this region might have higher chances.
Furthermore, all eight Secretaries-General in the Organization’s 70-year history have been men, and many are calling for a female nominee, with several campaigns for a woman Secretary-General having formed around the 2016 election process.
4. Fun Fact
The Security Council uses color-coded straw ballots to vote on the candidates. This practice was established by the “ Wisnumurti Guidelines “, proposed in 1996 by then UN Permanent Representative from Indonesia, H.E. Ambassador Nugroho Wisnumurti.
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What part of the body is afflicted by gingivitis? | How does gum disease affect my body? - Healthy Teeth & Mouth - Sharecare
Healthy Teeth & Mouth
Topics | Oral Health | Healthy Teeth & Mouth | How does gum disease affect my body?
A Answers (5)
A American Dental Association answered
Research between systemic diseases and periodontal diseases is ongoing. While a link is not conclusive, some studies indicate that severe gum disease may be associated with several other health conditions such as diabetes or stroke.
It is possible to have gum disease and have no warning signs. That is one reason why regular dental checkups and periodontal examinations are very important. Treatment methods depend upon the type of disease and how far the condition has progressed. Good dental care at home is essential to help keep periodontal disease from becoming more serious or recurring.
A Dr. Mehmet Oz, MD , Cardiology (Cardiovascular Disease), answered
The plaque that builds up around your teeth can hurt your heart as well as your gums. Watch this animation to see how plaque in your mouth can build up and block the arteries leading to the heart.
Helpful? 1 person found this helpful.
A Dr. Todd A. Welch, DMD , Periodontics, answered
Current models of mucosal surfaces of oral, gut, lung, and skin tissue postulate that local bacterial antigens, derived from biofilms on surfaces, regulate local tolerance, local immune response, and systemic response by way of an "information relay system" through a series of nuclear factor-kappa beta pathways to synthesize and secrete cytokines and chemokines to regulate the inflammatory process at local as well as distant sites. Evidence is also accumulating that the predominant cells of the periodontium, gingival fibroblasts, are capable of producing prostaglandins, interleukins (IL-1beta [β], IL-6, IL-8), tumor necrosis factor-alpha (TNF-α), and interferon- gamma (IFN-γ). It is hypothesized that these mediators modulate inflammation locally as well as at a distant site of infection.
One presupposes the direct role of oral bacteria or their products in the pathogenesis of atherosclerotic plaque in myocardial infarctions. An alternative explanation is the possible role of mediators in inflammation initiated by periodontal pathogens in the development of chronic complications. There is general agreement that chronic diseases, such as atherosclerosis, stroke, and diabetes, are multifactorial in origin. But there is growing evidence that these diseases are influenced by gingival inflammation and chronic periodontal infections. In a series of cross-sectional studies, a strong relationship has been found between acutephase C-reactive protein (CRP) in serum and the severity of periodontal diseases. CRP is triggered by infections, trauma, necrosis, and malignancy, and is also linked to heart disease and diabetes. CRP is synthesized in the liver in response to proinflammatory cytokines such as IL-1α, IL-1β, and IL-6. TNF-α, IFN-γ, and transforming growth factor also participate in the production.
The current therapeutic strategy to control periodontal infections involves mechanical removal of deposits, both supra- and subgingival.
A Carol Jahn , Dentist, answered
Gum disease hurts your body in many ways. First and foremost; it can lead to pain, bone loss, and ultimately tooth loss. Our teeth are essential to healthy eating; when we lose the ability to chew well, it affects our overall nutrition and our body. Second, our teeth are integral to our smile. Tooth loss or discomfort with the way our mouth looks can lead to a loss of self-esteem and confidence. When we lose teeth, we also lose bone and that effects the structure of our face causing premature aging.
There is also growing evidence that the gum disease may effect the rest of our bodies too. When you have gum disease, your mouth is inflamed and these inflammatory agents may increase inflammation in other parts of your body. It has been observed that people with heart disease are more likely to have gum disease and vice versa. People with diabetes who have gum disease may have a harder time controlling their blood sugar.
Helpful? 1 person found this helpful.
A RealAge answered
Gum disease hurts your mouth, but it also can affect your entire body. Researchers have found a link between periodontal (gum) disease and chronic health conditions, according to the U.S. Centers for Disease Control and Prevention (CDC). Gum disease produces bacteria in your mouth that can flow into your bloodstream to other parts of your body. If you're already unhealthy, the bacteria can lead to heart disease and stroke. If you have diabetes, your condition can worsen due to gum disease. Maintain proper oral health to help prevent gum disease and damage to your body.
| Gingiva |
According to the 1979 Buggles hit, what did video kill? | Healthy teeth, healthy body - Live Well - NHS Choices
Tooth loss
If you're concerned that you may have gum disease, visit your dentist.
Did you know that gum disease isn’t just bad news for your teeth, it’s also linked to serious health problems in other parts of your body?
Gum disease may increase your risk of all kinds of other health complications, including stroke , diabetes and heart disease . Gum disease has even been linked with problems in pregnancy and dementia.
Chief Executive of the British Dental Health Foundation, Dr Nigel Carter, explains: "The link between oral health and overall body health is well documented and backed by robust scientific evidence. Despite this, only one in six people realises that people with gum disease may have an increased risk of stroke or diabetes. And only one in three is aware of the heart disease link."
Gum disease dangers
Gum disease is an infection of the tissues that support the teeth. It's mainly caused by bacteria from plaque build-up. In some patients who are susceptible to gum disease, the body over-reacts to the bacteria around the gums and causes too much inflammation. In others, the inflammation doesn’t clear up properly. The result of the intense gum inflammation is that it also affects the bloodstream, and is believed to slowly damage blood vessels in the heart and brain over a long period of time.
What’s the damage?
Gum disease has been linked to a variety of other health problems, including:
heart disease and heart attacks
diabetes and its control
rheumatoid arthritis
Preventing problems
The good news is that brushing your teeth properly and looking after your gums can prevent and treat gum disease, improve your overall health and help to reduce your risk of health problems, such as heart disease.
Follow a routine of brushing your teeth for a full two minutes twice a day with a fluoride toothpaste, plus cleaning between your teeth with floss or interdental brushes.
Visit your dentist and dental hygienist regularly for cleaning and check-ups. It’s especially important to look after your teeth and gums if you’re pregnant. NHS dental care is free for pregnant women and during the 12 months after you've given birth.
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American author William Sydney Porter, known for his wit, wordplay, and clever twist endings, wrote under what famous pseudonym while in prison for embezzlement? | O. Henry - Biography - IMDb
Biography
Jump to: Overview (4) | Mini Bio (1) | Spouse (2) | Trivia (9) | Personal Quotes (6)
Overview (4)
5' 7" (1.7 m)
Mini Bio (1)
O. Henry was an American writer whose short stories are known for wit, wordplay and clever twist endings. He wrote nearly 600 stories about life in America.
He was born William Sidney Porter on September 11, 1862, in Greensboro, North Carolina. His father, Algernon Sidney Porter, was a medical doctor. When William was three his mother died and he was raised by his grandmother and aunt. He left school at the age of 15 and then had a number of jobs, including bank clerk. In 1896 he was accused of embezzlement. He absconded from the law to New Orleans and later fled to Honduras. When he learned that his wife was dying, he returned to US and surrendered to police. Although there has been much debate over his actual guilt, he was convicted of embezzling funds from the bank that employed him, he was sentenced to 5 years in jail. In 1898 he was sent to the penitentiary at Columbus, Ohio.
While in prison he began writing short stories in order to support his young daughter Margaret. His first published story was "Whistling Dick's Christmas Stocking" (1899). He used a pseudonym, Olivier Henry, only once and changed his pen name to O. Henry, not wanting his readers to know he was in jail. He published 12 stories while in prison. After serving 3 years of the five-year sentence, he was released for good behavior. He moved to New York City in 1902 and wrote a story a week for the New York World, and also for other publishers. His first collection of stories was "Cabbages and Kings" (1904). The next collection, "The Four Million" (1906), included his well-known stories "The Gift of the Magi", "The Skylight Room" and "The Green Door". One of his last stories, "The Ransom of Red Chief" (1910), is perhaps the best known of his works. Among its film adaptations are Ruthless People (1986) with Danny DeVito and Bette Midler , The Ransom of Red Chief (1998), The Ransom of Red Chief (1911) and Delovye lyudi (1962) (aka "Business People") by director Leonid Gayday , starring Georgiy Vitsin and Yuriy Nikulin
In his lifetime O. Henry was able to see the silent film adaptations of his stories; The Sacrifice (1909), Trying to Get Arrested (1909) and His Duty (1909). His success brought the attendant pressure, and he suffered from alcohol addiction. His second marriage lasted 2 years, and his wife left him in 1909. He died of cirrhosis of the liver, on June 5, 1910, in New York, New York.
O. Henry is credited for creation of The Cisco Kid, whose character alludes to Robin Hood and Don Quixote. The Arizona Kid (1930) and The Cisco Kid (1931) are among the best known adaptations of his works.
- IMDb Mini Biography By: Steve Shelokhonov
Spouse (2)
( 5 July 1887 - 25 July 1897) (her death) (2 children)
Trivia (9)
Arrested and convicted of embezzling funds from the bank that employed him, he was sent to the penitentiary at Columbus, Ohio to serve a five year sentence. He began writing his by-now famous short stories in prison in order to help support his daughter, Margaret. He was released after three years and soon after changed his pen name to O. Henry.
Though many sources indicate O. Henry's real name as "William Sydney Porter", his middle name at birth was actually Sidney with an "i". He changed the spelling of his middle name to "Sydney" when he began working for newspapers in the 1880s.
Porter is said to have derived the pen-name O. Henry from the name of a girlfriend's cat.
His only formal education was received at the school of his Aunt Lina, where he developed a lifelong love of books.
Died at the age of forty seven. An alcoholic, he died virtually penniless.
Licensed as a pharmacist at 19 (1881). He worked as a pharmacist during his imprisonment for embezzlement (1898-1901).
In 1888, his wife gave birth to a premature son, who died a few hours later. Their daughter Margaret Worth Porter was born on September 30, 1889.
Second wife Sara Lindsey Coleman was his childhood sweetheart.
Worked as a draftsman in the Texas General Land Office (Austin), and is believed to have illustrated J. W. Wilbarger's "Indian Depredations in Texas" (1889).
Personal Quotes (6)
| O. Henry |
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O. Henry aka William Sidney Porter 1862 - 1910
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Posted: 25 Dec 2007 5:01AM GMT
Classification: Obituary
Surnames: Porter, Estes,Lindsay,Coleman,Swaim
O. Henry
O. Henry was an American writer of The Gift of the Magi, A Municipal Report, The Ransom of Red Chief, and The Last Leaf. His work was notable for his use of startling twist endings that popularized the term "O. Henry Ending" to symbolize stories with a surprise conclusion.
Biographical fast facts
Full or original name at birth: William Sidney Porter
Date, time and place of birth: September 11, 1862, at 9 p.m., Worth Place plantation, Guilford County, near Greensboro, North Carolina, U.S.A.
Date, time, place and cause of death: June 5, 1910, at 7:06 a.m., New York Polyclinic Hospital, New York City, New York, U.S.A. (Diabetes/Cirrhosis of the liver)
Marriage #1
Spouse: Athol Estes (m. July 5, 1887 - July 25, 1897) (her death)
Wedding took place in the front parlor of Reverend Richmond Smoot's home on West 6th, Austin, Texas.
Marriage #2
Spouse: Sara Lindsay Coleman (m. November 27, 1907 - June 5, 1910) (his death)
Children
Son: Anson Porter (b. and d. 1888, a few hours after his birth)
Daughter: Margaret Worth Porter (b. September 30, 1889 - d. 1927) (daughter)
Parents
Father: Algernon Sidney Porter (a physician) (b. August 22, 1825 - d. September 30, 1888, at 1:40 a.m.)
Mother: Mary Jane Virginia (Swaim) Porter (b. February 12, 1833 - d. September 26, 1865, at 7:30 p.m.)
Burial site: Riverside Cemetery, 53 Birch Street, Asheville, North Carolina, U.S.A.
Error correction or clarification
* His middle name was originally spelled Sidney, but he later changed it to Sydney. Contrary to many reports, he was not born William Sydney Porter.
Source information: The majority of the above times of birth and death were gleaned from the Porter family Bible.
Biography - Selected writing credits
When William Sidney Porter was three, his mother died of tuberculosis, and the Porter family moved to the home of his paternal grandmother, Ruth Porter. William's grandmother and unmarried aunt, Evelina Maria Porter, would now be responsible for raising the children. William was an avid reader, and developed a lifelong love of books. Following his schooling, he began working as a bookkeeper and pharmacist's assistant at his uncle's drugstore, W.C. Porter and Company Drug Store. By 1881, he'd become a licensed pharmacist. During this period, he became known locally for the cartoons and sketches he would produce of the townspeople, while working at the store. After relocating to Texas in 1882, he held various jobs, including ranch hand, pharmacist, draftsman, journalist, and a teller in an Austin bank.
He began writing in the late 1880s, while continuing his freelance illustrating and cartooning. In 1887, he married Athol Estes. The following year she would give birth to a son, but he lived just a few hours. Their daughter Margaret was born September 30th, 1889. In 1894, he began publishing a humorous weekly called The Rolling Stone. He was working as a teller at the First National Bank of Austin during the day, and producing sketches, satire, and stories for his publication by night. As bills began mounting at The Rolling Stone, evidence shows he began altering the books at the bank so he could "borrow" funds to cover the debts. He did it with the intent of repaying the money in the future, but an audit revealed the shortages before he could reimburse the stolen money. He resigned his position with the bank in 1894 after he was accused of embezzling funds. The Rolling Stone ceased publication the next year, and he went to work for the Houston Daily Post (1895-1896).
He was arrested on charges of embezzlement in 1896. While released on bond, he skipped town, escaping to New Orleans, and then Honduras. The next year, when he learned his wife was dying, he returned to face the charges. His wife Athol died July 25th, 1897, at 6 p.m., of tuberculosis.
Porter was found guilty of embezzlement of funds from the bank and sentenced to five years in jail. He was imprisoned at the Ohio State Penitentiary beginning April 25th, 1898. He used much of his free time in jail to write, and saw several of his stories published while behind bars. He was released from prison July 24th, 1901, for good behavior, after serving a little more than three years of his five year sentence.
By early 1902, Porter was living in New York City. Over the next few years, he would turn out literally hundreds of short stories and gain fame as one of America's favorite short story writers. He would marry again in 1907 to his childhood sweetheart, Sara Lindsay Coleman. He wrote prodigiously for several years, but his output declined as his life was increasingly marred by ill health, debts, and alcoholism. Despite O. Henry's fame and enormous success as a writer, he died a poor man.
The author's pseudonym, O. Henry, allegedly originated from his habit of calling "Oh, Henry" to the family cat. Other sources report the inspiration for his pen name came from one of the prison guards who was named Orrin Henry.
In addition to his more famous works such as, The Gift of the Magi, The Last Leaf, The Ransom of Red Chief, and A Municipal Report, his writing credits include, The Miracle of Lava Canyon (1897), Georgia's Ruling (1900), Cabbages and Kings (1904), The Four Million (1906), The Trimmed Lamp (1907), The Voice of the City (1907), Heart of the West (1907), Roads of Destiny (1909), Options (1909), Strictly Business (1910), Whirligigs (1910), Let Me Feel Your Pulse (1910), and Rolling Stones (published posthumously in 1912).
Many of his stories have been adapted into motion pictures, television series and TV-movies. The Cisco Kid was one of the most famous characters he created in The Caballero's Way from Heart of the West, his book of Western short stories. The Cisco Kid that O. Henry created, and the one that appeared years later in films and television, were significantly different characters.
Half a century after his death, new generations would become familiar with O. Henry-type endings thanks to Rod Serling's award-winning The Twilight Zone, and its use of surprise twist endings.
To memorialize his place in American literature, in 1918, the Society of Arts and Sciences established the O. Henry Award. It has gone on to become one of the most prestigious short story awards in America.
O. Henry is the pen name of American writer William Sydney Porter (September 11, 1862 – June 5, 1910). Porter's 400 short stories are known for their wit, wordplay, characterization and the clever use of twist endings
Early life
Porter was born on September 11, 1862, in Greensboro, North Carolina. His middle name at birth was Sidney; he changed the spelling in 1898. His parents were Dr. Algernon Sidney Porter and Mary Jane Virginia Swain Porter. When William was three, his mother died from tuberculosis, and he and his father moved into the home of his paternal grandmother.
As a child, Porter was an avid reader. He read everything from classics to dime novels. His favorite reading was One Thousand and One Nights.
Porter graduated from his aunt Evalina Maria Porter's elementary school in 1876. He then enrolled at the Lindsey Street High School. His aunt continued to tutor him until he was 15. In 1879, he started working as a bookkeeper in his uncle's drugstore and in 1881, at the age of nineteen, he was licensed as a pharmacist. At the drugstore, he also showed off his natural artistic talents by sketching the townsfolk.
The move to Texas
Porter traveled with Dr. James K. Hall to Texas in March, 1882, hoping that a change of air would help alleviate a persistent cough he had developed. He took up residence on the sheep ranch of Richard Hall, James' son, in La Salle County and helped out as a shepherd, ranch hand, cook and baby-sitter. While on the ranch, he learned bits of Spanish and German from the mix of immigrant ranch hands. He also spent time reading classic literature.
Porter's health did improve and he traveled with Richard to Austin in 1884, where he decided to remain and was welcomed into the home of the Harrells, who were friends of Richard's. Porter took a number of different jobs over the next several years, first as pharmacist then as a draftsman, bank teller and journalist. He also began writing as a sideline to employment.
He led an active social life in Austin, including membership in singing and drama groups. Porter was a good singer and musician. He played both the guitar and mandolin. He became a member of the "Hill City Quartet," a group of young men who sang at gatherings and serenaded young women of the town.
Porter met and began courting Athol Estes, then seventeen years old and from a wealthy family. Her mother objected to the match because Athol was ill, suffering from tuberculosis. On July 1, 1887, Porter eloped with Athol to the home of Reverend R. K. Smoot, where they were married.
The couple continued to participate in musical and theater groups, and Athol encouraged her husband to pursue his writing. Athol gave birth to a son in 1888, who died hours after birth, and then a daughter, Margaret Worth Porter, in September 1889.
Porter's friend, Richard Hall, became Texas Land Commissioner and offered Porter a job. Porter started as a draftsman at the Texas General Land Office (GLO) in 1887 at a salary of $100 a month, drawing maps from surveys and field notes. The salary was enough to support his family, but he continued his contributions to magazines and newspapers.
In the GLO building, he began developing characters and plots for such stories as "Georgia's Ruling" (1900), and "Buried Treasure" (1908). The castle-like building he worked in was even woven into some his tales such as "Bexar Scrip No. 2692" (1894). His job at the GLO was a political appointment by Hall. Hall ran for governor in the election of 1890 but lost. Porter resigned in early 1891 when the new governor was sworn in.
The same year, Porter began working at the First National Bank of Austin as a teller and bookkeeper at the same salary he had made at the GLO. The bank was operated informally and Porter had trouble keeping track of his books. In 1894, he was accused by the bank of embezzlement and lost his job but was not indicted.
He now worked full time on his humorous weekly called The Rolling Stone, which he started while working at the bank. The Rolling Stone featured satire on life, people and politics and included Porter's short stories and sketches. Although eventually reaching a top circulation of 1500, The Rolling Stone failed in April 1895, perhaps due to Porter's humor poking fun at powerful people. Porter also may have ceased publication as the paper never provided the money he needed to support his family. By then, his writing and drawings caught the attention of the editor at the Houston Post.
Porter and his family moved to Houston in 1895, where he started writing for the Post. His salary was only $25 a month, but it rose steadily as his popularity increased. Porter gathered ideas for his column by hanging out in hotel lobbies and observing and talking to people there. This was a technique he used throughout his writing career.
While he was in Houston, the First National Bank of Austin was audited and the federal auditors found several discrepancies. They managed to get a federal indictment against him. Porter was subsequently arrested on charges of embezzlement, which charges he denied, in connection with his employment at the bank.
Flight and return
Porter's father-in-law posted bail to keep Porter out of jail, but the day before Porter was due to stand trial on July 7, 1896, he absconded, first to New Orleans and later to Honduras. While he was in Honduras, Porter coined the term "banana republic", subsequently used to describe almost any small tropical dictatorship in Latin America.
Porter had sent Athol and Margaret back to Austin to live with Athol's parents. Unfortunately, Athol became too ill to meet Porter in Honduras as Porter planned. When he learned that his wife was dying, Porter returned to Austin in February 1897 and surrendered to the court, pending an appeal. Once again, Porter's father-in-law posted bail so Porter could stay with Athol and Margaret.
Athol Estes Porter died on July 25, 1897 from tuberculosis (then known as consumption). Porter, having little to say in his own defense, was found guilty of embezzlement in February 1898, sentenced to five years jail, and imprisoned on March 25, 1898 as federal prisoner 30664 at the Ohio Penitentiary in Columbus, Ohio. While in prison, Porter, as a licensed pharmacist, worked in the prison hospital as the night druggist. Porter was given his own room in the hospital wing, and there is no record that he actually spent time in the cell block of the prison.
He had fourteen stories published under various pseudonyms while he was in prison, but was becoming best known as "O. Henry", a pseudonym that first appeared over the story "Whistling Dick's Christmas Stocking" in the December 1899 issue of McClure's Magazine. A friend of his in New Orleans would forward his stories to publishers, so they had no idea the writer was imprisoned. Porter was released on July 24, 1901, for good behavior after serving three years.
Porter reunited with his daughter Margaret, now age 12, in Pittsburgh, Pennsylvania, where Athol's parents had moved after Porter's conviction. Margaret was never told that her father had been in prison - just that he had been away on business.
A brief stay at the top
Porter's most prolific writing period started in 1902, when he moved to New York City to be near his publishers. He wrote 381 short stories while living there. He wrote a story a week for over a year for the New York World Sunday Magazine. His wit, characterization and plot twists were adored by his readers, but often panned by the critics. Yet, he went on to gain international recognition and is credited with defining the short story as a literary art form.
Porter married again in 1907, to childhood sweetheart Sarah (Sallie) Lindsey Coleman, whom he met again after revisiting his native state of North Carolina. However, despite the success of his short stories being published in magazines and collections (or perhaps because of the attendant pressure success brought), Porter drank heavily.
His health began to deteriorate in 1908, which affected his writing. Sarah left him in 1909, and Porter died on June 5, 1910, of cirrhosis of the liver, complications of diabetes and an enlarged heart. After funeral services in New York City, he was buried in Asheville, North Carolina. His daughter, Margaret Worth Porter, died in 1927 and was buried with her father.
Stories
O. Henry stories are famous for their surprise endings. He was called the American answer to Guy de Maupassant. Both authors wrote twist endings, but O. Henry stories were much more playful and optimistic.[citation needed]
Most of O. Henry's stories are set in his own time, the early years of the 20th century. Many take place in New York City, and deal for the most part with ordinary people: clerks, policemen, waitresses. His stories are also well known for witty narration.
Fundamentally a product of his time, O. Henry's work provides one of the best English examples of catching the entire flavor of an age. Whether roaming the cattle-lands of Texas, exploring the art of the "gentle grafter," or investigating the tensions of class and wealth in turn-of-the-century New York, O. Henry had an inimitable hand for isolating some element of society and describing it with an incredible economy and grace of language.
Some of his best and least-known work resides in the collection Cabbages and Kings, a series of stories which each explore some individual aspect of life in a paralytically sleepy Central American town while each advancing some aspect of the larger plot and relating back one to another in a complex structure which slowly explicates its own background even as it painstakingly erects a town which is one of the most detailed literary creations of the period.
The Four Million is another collection of stories. It opens with a reference to Ward McAllister's "assertion that there were only 'Four Hundred' people in New York City who were really worth noticing. But a wiser man has arisen—the census taker—and his larger estimate of human interest has been preferred in marking out the field of these little stories of the 'Four Million.'" To O. Henry, everyone in New York counted. He had an obvious affection for the city, which he called "Bagdad-on-the-Subway,"] and many of his stories are set there—but others are set in small towns and in other cities.
Among his stories are:
* "A Municipal Report" which opens by quoting Frank Norris: "Fancy a novel about Chicago or Buffalo, let us say, or Nashville, Tennessee! There are just three big cities in the United States that are 'story cities'—New York, of course, New Orleans, and, best of the lot, San Francisco." Thumbing his nose at Norris, O. Henry sets the story in Nashville.
* "The Gift of the Magi" about a young couple who are short of money but desperately want to buy each other Christmas gifts. Unbeknownst to Jim, Della sells her most valuable possession, her beautiful hair, in order to buy a platinum fob chain for Jim's watch; while unbeknownst to Della, Jim sells his own most valuable possession, his watch, to buy jeweled combs for Della's hair. The essential premise of this story has been copied, re-worked, parodied, and otherwise re-told countless times in the century since it was written.
* "The Ransom of Red Chief", in which two men kidnap a boy of ten. The boy turns out to be so bratty and obnoxious that the desperate men ultimately pay the boy's father $250 to take him back.
* "The Cop and the Anthem" about a New York City hobo named Soapy, who sets out to get arrested so he can spend the cold winter as a guest of the city jail. Despite efforts at petty theft, vandalism, disorderly conduct, and "mashing," Soapy fails to draw the attention of the police. Disconsolate, he pauses in front of a church, where an organ anthem inspires him to clean up his life—whereupon he is promptly arrested for loitering.
* "A Retrieved Reformation", which tells the tale of safecracker Jimmy Valentine, recently freed from prison. He goes to a town bank to check it over before he robs it. As he walks to the door, he catches the eye of the banker's beautiful daughter. They immediately fall in love and Valentine decides to give up his criminal career. He moves into the town, taking up the identity of Ralph Spencer, a shoemaker. Just as he is about to leave to deliver his specialized tools to an old associate, a lawman who recognizes him arrives at the bank. Jimmy and his fiancée and her family are at the bank, inspecting a new safe, when a child accidentally gets locked inside the airtight vault. Knowing it will seal his fate, Valentine opens the safe to rescue the child. However, the lawman lets him go.
* "After 20 Years", set on a dark street in New York, focuses on a man named "Silky" Bob who is fulfilling an appointment made 20 years ago to meet his friend Jimmy at a restaurant. A beat cop questions him about what he is doing there. Bob explains, and the policeman leaves. Later, a second policeman comes up and arrests Bob. He gives Bob a note, in which the first policeman explains that he was Jimmy, come to meet Bob, but he recognized Bob as a wanted man. Unwilling to arrest his old friend, he went off to get another officer to make the arrest.
* "Compliments of the Season" describes several characters' misadventures during Christmas .
Origin of his pen name
Porter never explained how he came up with the name O. Henry as a pseudonym. There are a few popular theories:
* The Harrells, with whom Porter stayed in Austin, had a cat named Henry that Porter would play with. The cat would come running when Porter would shout "Oh, Henry!"
* He took the name from the place he was imprisoned, the Ohio Penitentiary.
* In New Orleans, before he left for Honduras, Porter would often call to the bartender of his favorite saloon, "Oh Henry, set 'em up again!"
Despite the absence of consclusive evidence as to the origin of the pen name, it is possible to determine what the "O" in "O. Henry" supposedly stood for. Porter signed at least one early short story as "Olivier Henry", and also later filled out an "about the author" profile as Olivier Henry. In the author profile, he gave no clue that he was really William S. Porter, and explained that his first name was the French version of Oliver. Why Porter chose to use the name "Olivier" remains as much a mystery as the reason he chose "O. Henry".
Legacy
* The O. Henry Award is a prestigious annual prize given to outstanding short stories.
* O. Henry is a household name in Russia, as his books enjoyed excellent translations and some of his stories were made into popular movies, the best known being, probably, "The Ransom of Red Chief". The phrase "Bolivar cannot carry double" from "The Roads We Take" has become a Russian proverb, whose origin many Russians do not even recognize.
* In 1952, a film featuring five O. Henry stories was made. The episode garnering the most critical acclaim[citation needed] was "The Cop and the Anthem", starring Charles Laughton and Marilyn Monroe. The other stories are "The Clarion Call", "The Last Leaf", "The Ransom of Red Chief" (starring Fred Allen and Oscar Levant), and "The Gift of the Magi".
* The play Broadway in the Shadows, based on stories by O. Henry, opened at the Arcola Theatre in London on October 10, 2006.
The O. Henry Museum in Austin, Texas
* Attempts were made to secure a presidential pardon for Porter during the administrations of Woodrow Wilson, Dwight Eisenhower and Ronald Reagan. However, each attempt was met with the assertion that the Justice Department did not recommend pardons after death. This policy was clearly altered during the administration of Bill Clinton (who pardoned Henry Ossian Flipper), so the question of a pardon for O. Henry may yet again see the light of day.
* The house that the Porters rented in Austin from 1893 to 1895, moved from its original location in 1930 and restored, opened as the O. Henry Museum in 1934. The William Sidney Porter House is listed in the National Register of Historic Places.
* The "O. Henry Pun-Off World Championships", hosted by the O. Henry Museum, started in 1977 and are held annually in May in Austin.
* There is also an O. Henry Middle School in Austin.
* The stretch of US Highway 29 in Greensboro, North Carolina is named O. Henry Boulevard.
Quotations attributed to O. Henry
* "There are stories in everything. I've got some of my best yarns from park benches, lampposts, and newspaper stands."
| i don't know |
For the 1st time ever, a person has won both a best actor/actress Oscar and a Razzie for the worst actor/actress in the same year. Who did it this year? | Least Deserving Oscar Winner of All Time
Follow DL on
Least Deserving Oscar Winner of All Time
It could be an actor, actress, film, director, supporting, etc. Everyone always says Elizabeth Taylor for Butterfield 8 was a Pity Oscar.
What's the one Oscar-winner where you shook your head and said, "Um, what?"
by Anonymous
Greatest Show on Earth, best picture 1952 (?)
by Anonymous
I know there's more. She's just one of the more egregious recent ones.
by Anonymous
Katharine Hepburn - all four wins
Elizabeth Taylor - WHO'S AFRAID OF VIRGINIA WOOLF?
by Anonymous
Don't we do this thread every week?
by Anonymous
I saw Butterfield 8 several years ago. Liz wasn't bad in it at all!
by Anonymous
Definitely Crash. For Acting, Hilary Swank's second.
by Anonymous
Least Deserving Oscar Winner For...
Best Picture: Crash
Best Director: Mel Gibson, Braveheart
Best Actor: Al Pacino, Scent of a Woman
Best Actress: Hilary Swank, Million Dollar Baby
Best Supporting Actor: Christian Bale, The Fighter
Best Supporting Actress: Jennifer Hudson, Dreamgirls
by Anonymous
02/25/2014
Pierre Boulle, Best Adapted Screenplay for Bridge on the River Kwai:
He couldn't even write or speak English: he wrote the book the movie was based on, but didn't contribute a word to the screenplay and was used as a front for blacklisted writers during the McCarthy era
Hugh Griffith, Best Supporting Actor for Ben-Hur:
His performance is utterly forgettable. People mock Charlton Heston's overacting, but at least you remember what he does. Or Pacino going "Hoo-ah!" in Scent of a Woman. Griffith is neither good nor bad, he doesn't do anything! He's just there. At least the scenery-chewers do something.
This one is doubly perplexing as Ben-Hur already had an excellent candidate for Supporting Actor: Stephen Boyd as Messala.
by Anonymous
reply 12
02/25/2014
Liz was terrible in Butterfield 8. She had no chemistry with Laurence Hervey at all. The film would have worked better if it was about a gay guy and his fag hag. Liz would have been brilliant in that role.
Halle Berry might be one crazy cunt but all least she accepted her Razzie! For all her insanity she really was a good sport about everything.
Julia Roberts winning was a farce.What a shitty actress she is.She's not even in the same class as her brother Eric Roberts let alone a Meryl Streep.
by Anonymous
reply 18
02/25/2014
"I Just Called to Say I Love You" as Best Song in 1984 (from "The Woman in Red"). Gimme a fuckin' break! In what universe is that an Oscar-worthy song????
by Anonymous
reply 19
02/25/2014
Get ready for Jennifer Lawrence (x2)! It's gonna happen. And she didn't even need to campaign.
Also, Argo. Why the heck did Hollywood feel bad for Ben Affleck when he didn't get nominated? Dude has never done a significant film and this was only his third directed movie. Probably because they didn't rewatch Argo to see if it held up (it doesn't). Zero Dark Thirty was robbed...Kathryn Bigelow is the one who should've been held up by the industry amid the faux controversy.
by Anonymous
reply 20
02/25/2014
I'm by no means a Swank fan, but I thought she was beyond great in Million Dollar Baby. She's been amazing in exactly 2 roles and was lucky enough to win 2 Oscars as a result. I think it's a shame more potent actors don't even have one, but she was great in both of those roles.
by Anonymous
[quote]Titanic was another undeserving flick.
Well, The Full Monty wasn't deserving either.
by Anonymous
reply 49
02/25/2014
gotta agree with R53. Vivien Leigh was perfection as Scarlett O'Hara. No actress of her time would've been better in the role.
by Anonymous
reply 51
02/25/2014
'Triumph Of The Will' is a good film too, R57. Watching it didn't turn me into a nazi.
by Anonymous
reply 53
02/25/2014
Sandra Bullock for that Lifetime movie where she adopted Shrek. She lives in Texas and she couldn't even manage a Suthun accent. Her face is a botoxed mask.
Sidibe deserved it. But because she was a newcomer, people thought she was some urban teen playing herself. We all know now she couldn't be more different than Precious, and it was an awesome performance.
by Anonymous
[quote]What's the one Oscar-winner where you shook your head and said, "Um, what?"
What? I don't do "Um."
by Anonymous
reply 73
02/25/2014
Katharine Hepburn, On Golden Pond. I know it was sentimental for her and Henry Fonda, but it was completely unnecessary to give her a 4th Oscar when she never showed up to accept a single award. It's hard to imagine that even happening now (a 4 time best actress winner and 12 time nominee who never showed up - not once - when they were nominated).
Barbra Streisand, Funny Girl. If it was a tie, it was only because she became eligible before and could vote for herself (or do I have that wrong?).
I did not mind Streep for The Iron Lady because she should have won for a number of other performances and that was a great performance.
Reese in Walk The Line, or Sandra Bullock in The Blind Side, Julia Roberts for Erin Brockovich, and a lot of the others that have been cited here that were paid for trophies thrown to non-actresses.
by Anonymous
reply 74
02/25/2014
Everyone says Hollywood felt badly for Affleck and gave ARGO Best Pic out of sympathy, but I think its win was more about propaganda. Also, Hollywood loves a film that makes it look like they were the true heroes in an international crisis.
What pissed me off is that I thought the film was pretty good. Not great, not Best Picture material, but a lot better than I expected, especially with that amazing cast of supporting players (except John Goodman, bleah, he stunk). Now I have no warm feelings toward it at all.
by Anonymous
reply 75
02/25/2014
Others have stated - and I agree - that Argo was nothing more than a well made action film that would have been commonplace in the 1990's. It was all the Hollywood self-referencing that made it popular enough to win a best picture Oscar?
I would swap out Tom Hanks for Forest Gump and give it to him this year for Captain Phillips. Not sure why he was not even nominated since he was phenomenal in that film.
by Anonymous
02/25/2014
The woman from Sayonara.
I watched that recently and was shocked she was barely in it. I kept waiting for the Best Supporting Actress caliber performances and it never came.
by Anonymous
reply 77
02/26/2014
Bullock, Roberts and Paltrow all gave competent performances, nothing more, in roles that were not at all demanding. They were career awards.
by Anonymous
Witherspoon, Portman, Lawrence
R45 I agree No Country was a very boring movie!
Roberts is not the worst actress out there, she is definitely better than he 3 I mentioned above. Goop gave a great performance in Shakespeare, but I think she was better in Proof or Sliding Doors, but those were small movies, which never got the attention they deserved. Had she not turned down Titanic for Sliding Doors, she might have gotten another nom.
by Anonymous
reply 86
02/26/2014
Kim Basinger's numbingly boring total of 15 minutes or so on screen in LA Confidential. I'm sorry, but I've never seen evidence that this blond-bimbo-zombie has any acting talent of any kind.
by Anonymous
The winner for Best Sound Mixing in 1961.
by Anonymous
02/26/2014
r34, if you're still here, I'm curious. What's your objection to "Amadeus?"
Not that you owe an explanation, but I love that film; every scene of it. I was just wondering about your reaction.
And, fwiw, I though, Jeffery Jones performance was better then F Murray Abraham's, as good as he was.
by Anonymous
02/26/2014
Della--
I saw the play first and loved it. The movie unnecessarily expanded it and I'm not a Milos Forman fan (don't like the movie of Cuckoo's Nest, either, love the book, or Hair, again loved it on stage.) He's too heavy handed for the great material.
The cast of Amadeus the movie is wonderful.
by Anonymous
[quote] Lonette McKee could act circles around Renee.
was around 50 when the movie was made.
Did Halle turn it down?
by Anonymous
reply 104
02/26/2014
R110 I doubt liz would have won if it wasnt for the pnuemonia. Liz would have agreed. She had done some fine work in the fifties and this was her 4th nomination so i have no problem with her winning for the silly butterfield 8. But if it wasnt for her illness shirley maclaine or deborah kerr would've won.
by Anonymous
reply 105
02/26/2014
Ginger Rogers for Kitty Foyle; and because Rogers won over Joan Fontaine in Rebecca, the Academy gave Fontaine a Oscar for the lesser Suspicion
Josephine Hull in Harvey
Joanne Woodward in Three Faces of Eve
by Anonymous
reply 107
02/26/2014
If O. Russell beats Jonze for original screenplay, he'll deserve to be on the list. The fact that there's still a race over it infuriates me.
by Anonymous
AnnE is annoying as fuck, but she was great in Les Miz.
Roberts never brings anything to a role other than being Julia Roberts
by Anonymous
reply 110
02/27/2014
R120 Funny you should mention Jo Van Fleet. Saturday I watched, for the first time, "East of Eden," which is not a movie that holds up particularly well, except for the gorgeous cinematography. I'd seen Van Fleet in other films (such as "Wild River" and "Cool Hand Luke") and looked forward to her Kate. Needless to say, she owned the time she was on screen--I think someone (Ethan Mordden?) described her characterization as the meanest woman ever, but I saw more depth and nuance to her work. What surprised me was how little screen time she has--the opening scene in the bank, the establishing moments in the house, and the long scene with Dean (and a brief moment when he brings Aron to meet her). I wanted more of her--she was far more interesting than the various juveniles (including Julie Harris, whom I've always loved, but who seemed here mainly to acting with her long hairpiece). I suspect trying to compress the 500-pages of (albeit bloated) Steinbeck's prose meant a lot had to be left out (including the epic time progression), but I wanted more of Van Fleet. Given that Betsy Blair had almost a co-lead in "Marty," which won Best Picture, Director, Actor, and Screenplay, I'm surprised Blair didn't win for her affecting performance.
I agree about Gentleman's Agreement and The Lost Weekend. Even at the time, I suspect GA was viewed as a bit of a pill--and Celeste Holm far less interesting than either Dorothy Maguire and Anne Revere. She got to be the ideal liberal who didn't get the man and was fresh off her Broadway work as Ado Annie, so, since neither Peck nor Maguire were going to get leading awards, voters may have felt like they needed to support one of the actors, and Revere had just won two years earlier (and, for that matter, Dean Stockwell was more compelling and even Jane Wyatt brought a shot of bitters to her stock society dame). Holm might have been better served with an Oscar for All About Eve--she certainly has a much screen time as Baxter and is one of the rotating narrators and does manage some nice subtle work with what might have been a stock part (even though I grew tired, in later years, about hearing how rude Davis and Merrill had been to her--Oh, shit--manners, indeed). No way was she going to take the Oscar away from Mercedes MacCambridge for her force of nature Sadie Burke in All the King's Men. Hull's Oscar was a sentimental one, but also a skillful piece of comic acting (which she'd been doing onstage for some time)--she actually provides some heart and life to "Harvey"--Stewart is fine as Elwood, but, since he's basically an alcoholic, passive, sweet man, someone has to provide some brio.
In the year Holm won, I would have said Revere, Gloria Grahame (for the first memorable one of her sullen slatterns in "Crossfire"), even Marjorie Main in her vivid Ma Kettle might have been more deserving. Ethel Barrymore is haunting as the wounded, abused wife of Laughton in "The Paradine Case," but her performance is shorter than Van Fleet's was later (maybe rivaling Dench and Straight in its brevity, as well as the role for which Grahame eventually won--in "The Bad and the Beautiful"). If they gave an award for cameo (ten minutes or under), she would have won handily--but there are already enough categories.
by Anonymous
reply 111
02/27/2014
In the immediate sense of not deserving an Oscar for the role they won for, I'd actually vote for Denzel Washington in Training Day. It's such a generic role which only requires that he squints in anger and screams. It plays like a TNT movie. I'm dumfounded that anyone would deem it Oscar worthy.
That said, I'm thinking he was receiving a career achievement Oscar. If he were going to win best actor Oscar, it should have been for X or The Hurricane. But, he didn't win for those and since he had been around, was generally respected, I think he got a make-up Oscar for Training Day. Though, did he really need it? He did have a supporting actor Oscar or Glory already.
by Anonymous
Carol Reed winning BD over two cinematic masterpieces:
Stanley Kubrick, 2001
Gillo Pontecorvo, Battle of Algiers
by Anonymous
reply 114
02/27/2014
Thank you, R101. I would have loved to have seen Hepburn with Streisand, but it makes sense Kate did not show up to lose. But still it's kind of unlikely to happen now. "I am just too busy, but, oh sure, give me 4!" I still think it's fascinating Hepburn had a long career, won 4, Streep won right after her, and Streep has never stopped. Jennifer Lawrence is maybe the next overlap but who knows.
by Anonymous
02/27/2014
Hepburn never showed up to the Oscars for any of her nominations.
Some director (Cukor?) who accepted her Oscar in 1968 wrote in his memoirs that he put he put the Oscar in a paperbag on the top shelf of her coat closet. (she let him stay in her LA home.) Twenty years or so later he received an honorary award and she let him stay in her house again. He said he looked in the closet and the Oscar was still there in the bag, untouched.
by Anonymous
Streep is unlikely to beat Hepburn's record, R126
by Anonymous
reply 118
02/27/2014
Everyone who won an Oscar for "The Silence of the Lambs". I've had ham sandwiches that were less hammy than the acting in this movie.
by Anonymous
02/27/2014
In my life time...
Cher Whoopie Sandra Bullock. Meryl for the iron lady and I'm still not sure about Krammer vs Krammer Helen Hunt Jennifer Hudson Jack Palance Jamie Foxx a complete joke of a performance but boy did this bitch campaign for that oscar. Don Cheadle was amazing in Hotel Rwanda and should have won. Hilary horse face Swank for Million Dollar Baby. Annette's asshole should have scars from that blatant ass fuck with no ky. Reese Witherspoon Didn't even come close to June Carter. How this win happened is a real puzzle.
But above all those the single most undeserving oscar winner in my life time goes to......
Halle Berry.
reply 121
02/27/2014
R132 LOL At the time I thought Hopkins performance was brilliant and Foster was her usual cold dykish self. I think the performances now look "hammy" because of all the years of satire about it. The movie was engrossing also at the time. So I'm sorta on the fence if it deserved the oscar. Now if we are talking Slumdog Millionaire which didn't deserve one damn thing then I'd agree completely. I have purposefully watched it three times to find something good in that movie and every time someone has watched it with me they say the exact same thing I'm thinking... This shit won best picture?
by Anonymous
I always think Foster overacts. I find her personality and her work as an actress un-watchable.
by Anonymous
reply 123
02/27/2014
I'm also not a fan of Foster. Her voice is annoying and she comes off cold. The only performance of hers that I can watch is NELL because it's funny as fuck to me watching her act like a moron. There's all kinds of slop going on in that mess of a movie. From the "special" Nell language to her doing a happy jig exposing her little tits. It's sorta my own personal rocky horror show where you can mock her the entire time. They actually put that in movie theaters.
by Anonymous
reply 125
02/27/2014
Slumdog Millionaire -- I think we have a winner of this thread! What an overrated piece of tripe.
I totally disagree with what others have said about The Lost Weekend. I saw it about two years ago and the film definitely holds up. I'm a recovering alkie myself and an the alcoholic's self-delusion felt painfully familiar. The guy's journey was genuinely harrowing. I'll even defend the final scene as representing not so much an unpersuasive "happy ending" as just another example of how he's fooling himself. That's how Billy Wilder saw it as well.
One of the most interesting things about The Lost Weekend, to me, is that it was pre-AA, or at least, it was based on a novel by someone who, at the time, was unfamiliar with the AA program. Therefore, it escapes some of the cliches that we see in virtually every other movie about alcoholism, which view alcoholism and recovery from it through the AA paradigm. I'm not knocking AA at all -- I've benefited from it enormously. But unfortunately, it's led to some very tired story-telling in films about alcoholism and addiction.
by Anonymous
The absolute least deserving of all time?
THE GREATEST SHOW ON EARTH's Best Picture Oscar.
It's all well and good to note how bad the choices of Norma Shearer, Mary Pickford, GREATEST SHOW ON EARTH and such are, but among films in the last 20 years, by category, I'd say:
Picture: CHICAGO Director: Danny Boyle for SLUMDOG MILLIONAIRE (and that was close for Best Picture.) Actor: Roberto Benigni Actress: Reese Witherspoon Supporting Actor: None was least deserving. I didn't like several, but they all were good performances. Supporting Actress: Jennifer Hudson, CZJ and Renee Zellwegger
(R64 is just peevish, and R69 is insane, of course.)
by Anonymous
reply 149
02/28/2014
Roberto Benigni made an impact with "Life Is Beautiful" - he may not be the greatest actor, but there was some justification for that award.
by Anonymous
Pickford is unbelievably godawful in "Coquette". Probably the worst "acting" ever even NOMINATED for an Oscar.
by Anonymous
reply 153
03/01/2014
Any Oscar connected to "As Good As It Gets." Just a horrible, sappy movie with terrible performances all around. Helen Hunt has never been anything but a sit-com actress and that's exactly the performance she gave. Nicholson was smarmy and pompous.
Also Reese Witherspoon for Walk the Line. Any actress with two classes under her belt could have done what she did.
by Anonymous
reply 154
03/01/2014
There have been so many undeserving Oscar winners. But if I had to pick just one, it would be Roberto Benigni. He did a slapstick movie about the Holocaust and critics fell all over themselves praising the thing. I saw it; there was nothing exceptional about it at all. And it was distasteful to see Benigni capering and mugging amongst the Nazis. I didn't find it funny.
He won the Oscar over Tom Hanks (Saving Private Ryan), Nick Nolte (Affliction), Ed Norton (American History X) and Ian McKellen (Gods and Monsters). ALL the other nominated actors gave better performances than Benigni.
He also won the Oscar for best foreign film for his trifling little Holocaust comedy.
Thankfully, he destroyed his film career by his vanity production of "Pinocchio." It was an elaborate live action version of the children's story with the middle-aged Benigni playing the boy puppet. It was universally panned and Benigni's career never really gained momentum again after that. Good!
by Anonymous
reply 155
03/01/2014
I was open to Benigni - didn't know him and didn't have any biases. I loathed the movie and think he was the least deserving actor winner in the last 20 years, compared to all the other actors winning over that time. You can suggest it was a matter of style or whatever - he and his film creeped me out, period. And of course his behavior at the Oscars pretty much took care of everything else for him, sealed by that Pinocchio monstrosity.
I still can see Sophia Loren's happiness in announcing her countryman's name.
Poor Sophia.
03/01/2014
Why didn't Helen Hunt present Best Actor?
I think it was a tip-off when Sophia Loren presented. Just like when Streisand presented Best Director when Katharine BIgelow won.
This year, they're having Sidney Poitier present Best Director or Best Picture (forget which) so I wonder who/which will win? (sarcasm). It's the 50th anniversary of his historic Best Actor win so I'm sure the Academy will make a statement, just like when they awarded Denzel and Halle the Oscar the same night that they gave Poitier an honorary award.
by Anonymous
reply 157
03/01/2014
Streep has already beat Hepburn's records for nominations, and I do think she will end up with 21 nominations and 5 Oscars. She may never beat Hepburn with 4 best actress wins, that is unlikely to ever happen again now because of campaigning and money spent to achieve one Oscar.
by Anonymous
reply 158
03/01/2014
I still can't believe GANDHI (aka 101 ways to wear a sheet) won for Costume Design, especially against the likes of LA TRAVIATA.
by Anonymous
reply 160
03/01/2014
I love Roberto Benigni. Go see Jim Jarmusch's 'Night on Earth.' Benigni plays a taxi driver giving a priest a ride. It's unbelievably funny.
For least deserving, I might have to pick -- but it pains me because I love her as an actor -- Judi Dench in Shakespeare in Love. I mean... there's just so little material there.
by Anonymous
reply 161
03/01/2014
Dench admitted that herself in her speech, R178. She should have won the year before for "Mrs. Brown".
by Anonymous
reply 162
03/02/2014
R161 I wasn't keen on Zellweger in Cold Mountain either but I actually though she totally deserved to beat Kidman the yeat she was up for Chicago
by Anonymous
reply 163
03/08/2014
Mary Astor in the best supporting actress category for the Great Lie. She said that she would have preferred to win for Maltese Falcon. I agree. She should have won for Maltese Falcon
by Anonymous
reply 165
03/08/2014
Gosford Park- Best Original Screenplay over Memento, Amelie and The Royal Tenenbaums, as well as Donnie Darko not being nominated
by Anonymous
Mira Sorvino for Mighty Aphrodite (hell, she was better in Romy & Michele)
Alan Arkin for Little Miss Sunshine (though it was a long & distinguished career Oscar)
Cuba Gooding Jr for Jerry Maguire
Michael Caine for The Cider House Rules AND Hannah & Her Sisters
Tommy Lee Jones for The Fugitive (how he beat Ralph Fiennes' gobsmacking performance in Schindler's List with a serviceable turn in a mainstream action thriller I'll never know)
John Gielgud for Arthur (it was probably just because he was considered one of the greatest actors of the 20th century and hadn't won an Oscar before)
by Anonymous
reply 176
04/06/2015
R175 Caine is quite wretched in Cider House. But he is well liked in the industry. The way he singled out every loser in his category and said something nice about them after he won. Very classy. Gooding winning for his mugging and show me the money bs. That really sucked. Bill Macy and Ed Norton losing to him. No words.
by Anonymous
reply 177
04/06/2015
Heath Ledger for The Dark Knight. If he hadn't died (and the fanboys hadn't raised a stink over TDK being 'snubbed' for Best Picture), he probably wouldn't have been nominated.
by Anonymous
reply 178
04/06/2015
R177 Michael Caine is fine in many other things, don't get me wrong (of course he's also done a lot of dross as well) but the roles he won Oscars for are so underwhelming. What was it about him in Hannah and Her Sisters that was considered better than average for a Woody Allen film?
I'd say Get Carter was his best performance. Or maybe Alfie.
by Anonymous
Cavalcade, best picture 1933, the year of Duck Soup and King Kong.
by Anonymous
reply 181
04/06/2015
R179 I think it was mostly a career Oscar for Hannah. He had been nominated three times previous and had a lot of great work under his belt by then. But it still was a bit of a surprise he won. Tom Berenger won the globe and with the popularity of Platoon most pundits were picking him to win.
by Anonymous
reply 182
04/06/2015
You only need to read threads like this to realize how irrelevant & politically motivated most Oscars & other awards are.
All a total waste of time, since very little is based on actual achievement & excellence.
Watch what you like & enjoy it. Fuck what other ppl think.
by Anonymous
reply 183
04/06/2015
[quote]John Gielgud for Arthur (it was probably just because he was considered one of the greatest actors of the 20th century and hadn't won an Oscar before)
Well, I worked in a movie theater and stood in the back of the house and listened to the huge laughs he got. It is so rare a comedic performance wins and he deserved it.
by Anonymous
reply 184
04/06/2015
ONE? Who can pick just one? Here's a list of people I thought were totally undeserving of their Oscars:
Whoopi Goldberg
reply 186
04/06/2015
Stephen Sondheim for that horrid song Madonna sang in Dick Tracy. If anyone else had written it, it wouldn't even have been nominated.
by Anonymous
reply 187
04/06/2015
Lupita. Cuba. SANDRA NO TALENT BOO HOO I LOVE LOUIS B U L L O C K. Gwyneth. HALLE NO TALENT NO TALENT NO TALENT BERRY! Charlize. Jack Nicholson fugly creep. Shirley McClain. so many more. Does Clooney have one? If yes, then add him. Renee. Mel.
AND Jean du Jardin and The Artist deserved all of the awards and accolades it got! And Berenice Beijo should have won best actress for it. AND GONE WITH THE WIND is a GREAT movie, NOT racist! MAMMY is the smartest character and best actress in the whole thing--HOW is it racist?
by Anonymous
R183 Well sometimes they get it right. JK Simmons this year for example.
by Anonymous
reply 190
04/06/2015
John Gielgud, Josephine Hull and Helen Hayes in "Airport" were all actors with distinguished careers, even if mainly in the theater, who gave much appreciated at the time, audience-pleasing performances. Jo Van Fleet had a very spotty career, and evidently was a pretty troubled individual, but she is fine in "East of Eden" and even better in "Wild River", which, had it been a hit, should have given her a second Oscar. One pretty undeserved Oscar I can think of is Shirley Jones in "Elmer Gantry". She won it because Laurie from "Oklahoma" actually played a prostitute, but any credible actress could have done the role and been just as good.
by Anonymous
Al Pacino for Scent of a Woman
Jack Nicholson for As Good As It Gets
by Anonymous
reply 192
04/06/2015
Sofia Coppola. Her "talent" is minimal, to say the least. In interviews she seems downright mentally challenged. She won an Oscar because her last name is Coppola. The Oscars suck.
by Anonymous
reply 193
04/06/2015
"The Last Time I Saw Paris" winning for Best Song when it should have been ineligible. It wasn't written for the film "Lady Be Goid" and had been performed and recorded by several artists before it was used in the film. The song's composer Jerome Kern was embarrassed when he won. The fact that wartime sentiment allowed it to beat out Harold Arlen's superb "Blues in the Night" is ridiculous.
by Anonymous
reply 194
04/06/2015
There are also several WTF wins in the original score category where the Academy seems to confuse the concept of original score with songs in a musical (Fame, Thoroughly Modern Millie, etc.). And I don't even remember there being music in "Butch Cassidy" except for the "Raindrops Keep Falling on my Head" song (seriously, there's something like 10 minutes of underscore in the whole film).
by Anonymous
reply 195
04/06/2015
Crash was a watered down version of the 1991 film Grand Canyon, which ironically had superior screenplay and acting, but was only nominated for best original screenplay.
by Anonymous
R190, ugh, no. Terrible win. Norton was robbed.
by Anonymous
reply 200
04/06/2015
Oh my God, how could I have forgotten Robert Benigni! His Oscar was a fucking travesty. The other nominees were Ian McKellen (Gods and Monsters), Ed Norton (American History X), Nick Nolte (Affliction) and Tom Hanks (Saving Private Ryan). Ian McKellen should have won. Or Nick Nolte. Or Ed Norton. They ALL gave vastly superior performances. Tom Hank's performance wasn't as strong as theirs but he too would have been more deserving than the idiot Benigni. His cutesy Holocaust movie also won an undeserving Oscar for Best Foreign Film. Benigni, who after winning two Oscars no doubt thought he could do anything, followed up his cheery Holocaust comedy with a live action version of "Pinocchio" (the middle-aged Benigni played the boy puppet), which was so bad it effected ended his film career in America.
I also forgot Cuba Gooding Jr. He sure as hell did not deserve an Oscar.
And Charlize Theron. Formerly considered just a fine piece of Hollywood ass (she was frequently nude in her movies) she gained a few pounds, put in some fake teeth and spackled on ugly makeup and voila to play a serial killer and voila! It's Oscar time!
"The Man That Got Away" losing Best Song to "Three Coins In The Fountain."
by Anonymous
reply 201
04/06/2015
Cuba Gooding won because the year before (like this year) there was an uproar over there not being any black nominees.
So they overcompensated.
reply 208
04/07/2015
The Academy award are something like a bad high school popularity contest (if the students had unlimited money to buy votes with), with awards frequently given for solely out of guilt, sentiment, and in a vain attempt to absolve the Academy of horrendous poor decision-making in previous years.
2006 - Best Picture Crash Many critics accused the Academy of homophobia for failing to award the Oscar for Best Picture to Brokeback Mountain. Michael Jensen noted that prior to the Oscar ceremony, Brokeback Mountain became "the most honored movie in cinematic history", winning more Best Picture and Director awards than previous Oscar winners Schindler's List and Titanic combined.
2002 - Heath Ledger's performance in Monster's Ball was not nominated by the Academy. Instead the Academy gave the 2002 Best Supporting Actor Award to Chris Cooper in Adaptation (WTF).
2006 - Heath Ledger was nominated for Best Actor in Brokeback Mountain. But the Academy gave the award to Philip Seymour Hoffman for Capote in a role Hoffman played (albeit brilliantly) a cliched, effeminate, self-hating gay man, who betrays everyone involved.
2009 - Heath Ledger was finally award an Academy award for his role as The Joker in The Dark Night, posthumously. A posthumous award covers a multitude of sins in an inherently corrupt awards process.
by Anonymous
reply 209
04/07/2015
Amazing actress but Glenda Jackson's win for "A Touch of Class" is truly a bizarre one. She almost walks through it and still feels miscast as a sex object. Love her or hate her, that should have been Streisand's second -- a movie that is still beloved today while nobody remembers "Touch of Class".
by Anonymous
reply 210
04/07/2015
[quote]2006 - Heath Ledger was nominated for Best Actor in Brokeback Mountain. But the Academy gave the award to Philip Seymour Hoffman for Capote in a role Hoffman played (albeit brilliantly) a cliched, effeminate, self-hating gay man, who betrays everyone involved.
What bugged me about Hoffman's win was it had been done before. Robert Morse did it on Broadway and it was taped for TV. I never got what was so brilliant about doing a carbon copy.
Same thing with Marion Cotillard/Jane Lapotaire and Forrest Whitaker and whoever it was who did the same role in Raid on Entebee.
by Anonymous
reply 211
04/07/2015
When the hell has Bullock ever given an Oscar deserving performance? I agree that the year she won was relatively weak, but it doesn't change the fact that she gave a Lifetime acting job in a movie of the week film.
by Anonymous
reply 212
04/07/2015
We make fun of her on DL all the time but that was truly Gaby Sidibe's award -- especially since it turns out she is nothing like that character. Bullock's award is really embarrassing now in retrospect (and I even like her).
by Anonymous
I lot of people thought Gravity was other worthy.
by Anonymous
reply 214
04/07/2015
Halle, Cuba, and Sandra seem to be leading the way in the most UNDESERVING category! Which gives us all renewed faith in the taste of the DLers--at least the ones on this thread. Three people who do not have even a shred of acting ability. One beautiful (does that mean she should have an Oscar?), one who can be funny and seems like a nice guy, and one who is very bizarre and looks like an anteater...and appeared in Gravity--which is easily one of the absolute worst films ever made.
Helen Hunt also has no acting ability whatsoever.
Shirley Maclaine is a weird actress who has played herself for over 50 years--look back at Gittle in the awful Two for the Seesaw (it was on TMC last year--I had never heard of it)--her wooden bitchy performance in Steel Magnolias and her half asleep turn on Downton Abbey. She plays the same in each. She never should have been on Downton.
by Anonymous
reply 215
04/07/2015
I have to agree with those who have mentioned Argo. Totally forgettable flick that shouldn't have even been nominated. The industry's love affair with Ben Affleck totally baffles me.
by Anonymous
reply 216
04/07/2015
There's no way in hell Geoffrey Rush deserved the award for Shine. The kid who played the younger David carried that entire movie and character and then 30 minutes to the end, Geoffrey comes in and gets placed as the Best Actor Nominee/Winner.. AND he didn't even thank the kid.
by Anonymous
reply 217
04/07/2015
Watch Joanne Woodward's surprised reaction when Glenda Jackson's name is announced as the Best Actress winner for "A Touch of Class".
Also, note the last public appearance by Susan Hayward. Very ill with cancer, they had to shoot her up with painkillers backstage before she entered on Charlton Heston's arm.
by Anonymous
Both Cher AND Olympia Dukakis for that piece of celluloid shit "Moonstruck".
by Anonymous
reply 219
04/07/2015
I actually think Bullock's performance elevated the Blindside a bit of above the movie of the week script and story. She took what could have been a very over the top character and kept her grounded. She might not have deserved the Oscar, but her performance carried the movie. I would say it was at least worthy of a nomination (but probably not a win). There are lesser deserving Oscars out there.
by Anonymous
reply 220
04/07/2015
If Bullock hadn't won, we wouldn't have that humiliating acceptance speech where she thanked her piece of shit husband profusely, days before the story broke that he'd been cheating on her.
by Anonymous
reply 221
04/07/2015
I think people also underestimate Bullock's performance in Gravity. Sure, people might think the movie may have sucked but at the same time, people don't think about what goes into acting by yourself, and acting in a situation when there's not actually anything in front of you and you're using your imagination because you're in front of a green screen.
by Anonymous
reply 225
04/07/2015
[quote]AND GONE WITH THE WIND is a GREAT movie, NOT racist! MAMMY is the smartest character and best actress in the whole thing--HOW is it racist?
She is still a stereotype of the archetype Southern mammy. Heck, she is even named 'Mammy.' and she played the same role previously in the film version of SHOW BOAT.
Not to mention the other black characters are portrayed as Stepin Fetchit stereotypes (i.e. laxy, slow-talking, dimwitted, adult-chidlren).
Granted, Selznick asked for the NAACP's input when adapting the book, which is even more racist and stereotypical, but by today's standards, GWTW still miles away from being a fair portrait of plantation life.
My main issue is that it portrays it as an idyllic magical place, and the slaves have no complaints and are kindly treated as they happily go about their servitude. The opening is downright insulting:
[quote]There was a land of Cavaliers and Cotton Fields called the Old South... Here in this pretty world Gallantry took its last bow... Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave... Look for it only in books, for it is no more than a dream remembered... A Civilization gone with the wind...
Yeah, more like a nightmare for the many slaves.
by Anonymous
Hilary Swank for M$B. How hard is it to play white trash?
by Anonymous
04/07/2015
Totally agree about Ledger possibly not winning (or even nominated) had he not died.
For one, the Academy had never nominated a comic book character. Well, if you want to count Pacino in DICK TRACY, but by then Pacino was a legend and already had 5 nominations (and zero wins) over an 18-year period with classics like THE GODFATHER PARTS I & II, DOG DAY AFTERNOON, and SERPICO. Ledger's filmography wasn't very impressive by comparison.
In 1989, Jack Nicholson's name was tossed around for a nomination for his Joker in BATMAN, and even though he was already a 2-time Oscar-winner with 9 nominations, they overlooked him. Same with Michelle Pfeiffer's Catwoman. I remember there was some buzz about her performance, but in the end they gave it to her for LOVE FIELD instead, which Siskel & Ebert called the worst nomination of the Best Actress bunch that year.
Anyhoo!
Who knows what would've happened had Ledger lived. Maybe he'd gotten the nomination after all. But one thing's for certain: his early death certainly helped DARK KNIGHT at the box office and cemented his win. You can't deny that played no major part in it.
He's great in the role and, yes, during filming, Ledger's co-stars were saying he was doing an incredible job, but it wasn't until he died (2-3 months after filming wrapped up) that "Oscar" started being mentioned. So even though Ledger was getting raves by his co-stars (not critics, mind you, 'cause the movie wasn't even finished yet) nobody considered that he would get an Oscar nomination, much less win, until AFTER he died.
So his early death (only 28), coupled with the fact that the film became a huge success, the highest-grossing film of the year and the second highest grossing of all time domestically (after TITANIC), and became a cultural phenomenon, made him the foregone winner.
But had he not died, would he still have been the frontrunner? I think Robert Downey, Jr., a 20+ veteran and former nominee, would've taken it. He was having a career resurgence that year with two big hits (TROPIC THUNDER and IRON MAN) and had the comeback narrative. If Ledger had not died, he would not have had any narrative, just a comic book movie.. He would've been praised, no doubt, but at 28 the Academy would not have felt the need to award him. Though they often award female twentyseomthings in Best Actress/Supporting Actress, they very rarely award ,male twentysomethings.
For example, in the Supporting Actor category's 78 years of existence, only three other twentysomething actors have won: Cuba Gooding, Jr. (age 29) for JERRY MAGUIE (1996), Timothy Hutton (age 20) for ORDINARY PEOPLE (1980), George Chakiris (age 27) in WEST SIDE STORY (1961). That's only four actors in their twenties (Ledger included) in 78 years! The winners are usually in their 40s or 50s (or older), with the occasional thirtysomething,
Thus, Ledger's young age would've worked against him, as well as THE DARK KNIGHT's comic book genre. I mean, the Academy didn't respect it enough to nominate it for Best Picture or Best Director. I mean, it got 8 nominations (and won two), but they were all tech categories (Visual Effects, Sound Mixing, Makeup, Film Editing, Cinematography, Sound Editing, Are Direction). These are viewed as "lesser" awards. Ledger's was the only big category (Picture, Director, Actor, Actress, Supporting Actor, Supporting Actress, Screenplay).
by Anonymous
04/07/2015
[quote]but there was nobody else deserving the year Sandra Bullock won
Bullshit! Gabourey Sibide should've taken it. She was the most deserving of the 5, but neither she nor Carey Mulligan had a chance, being newcomers and first-time nominees. I think they were #'s 3 and 4, respectively, with Helen Mirren dead last, having just won three years previously.
Unfortunately, the race came down between Bullock and Streep, which is a shame 'cause none of their performances were that great. Still, Bullock was the lesser of two evils, so to speak.
I couldn't stomach Streep winning her third Oscar for JULIE & JULIA. That's a first Oscar win; second or third Oscars should be more impressive. I can't believe that hing was on its way to winning and they were just going to sit back and let it happen. It took Sandra Bullock coming out of nowhere to derail this train, and I’m glad it did. Streep’s performance is SNL-level, really; at no point was I convinced that she was Julia Child. It was a hideously obvious “performance” that sapped any sort of believability from the film. So thank you, Sandra Bullock.
by Anonymous
Natalie Portman earned her win...
by Anonymous
reply 231
04/07/2015
YOUR opinion is a piece of shit, r219, or any other of you other armchair DL critics opinions here. Just what have you accomplished that is Oscar worthy or gives you the cred to decide?
by Anonymous
reply 232
04/07/2015
[quote]AND GONE WITH THE WIND is a GREAT movie, NOT racist! MAMMY is the smartest character and best actress in the whole thing--HOW is it racist?
That's Best SUPPORTING actress in the whole thing and don't you forget it.
by Anonymous
04/07/2015
So many ways to answer this question.
Winners who didn't do much of anything to win, some of whom were being rewarded for body of work or being egregiously overlooked for specific other work.
Winners who stole oscars from much more deserving competition.
Winners who gave out and out bad performances.
But when you think of the whole thing it's a farce.
At its most honest, it's not awarded to the performance that is necessarily the most accomplished (however one defines that, always subjective) but rather for having gotten the role that's the most impressive and doing it justice.
In other words, it should be presented as the award for the performer who got the plummest role and didn't disappoint.... but that's not the same as giving the most accomplished performance. Often time great acting is making something extraordinary or memorable out of material that just isn't.
by Anonymous
reply 234
04/07/2015
"Sweet Lelani" (Harry Owens) from WAKIKI WEDDING winning "Best Song of 1937" over "They Can't Take That Away from Me" (Gershwins) from SHALL WE DANCE and "That Old Feeling" (Fain-Brown) from VOGUES OF 1938.
by Anonymous
reply 235
04/07/2015
The only person who should've been nominated from JULIE AND JULIA was Jane Lynch. She was heartbreaking. A very surprising performance that was actually smug-free.
by Anonymous
reply 237
04/07/2015
[quote]Instead the Academy gave the 2002 Best Supporting Actor Award to Chris Cooper in Adaptation (WTF).
That was absolutely a deserving win. It was a great performance, and it was truly supporting.
by Anonymous
reply 238
04/07/2015
I agree with R238. Cooper's is one of the best supporting actor wins of the 2000s. I even think that Meryl should've won that year alongside him. Loved her no-holds-barred performance in that. It was decidedly free of many of her usual tics.
Also, Heath Ledger's performance in "Monster's Ball" was not even the same year as Cooper's in "Adaptation" so I really don't know what that poster's going on about.
by Anonymous
Helen Hunt, I can't stand that cunt.
by Anonymous
reply 240
04/07/2015
Does anyone here feel Linda Blair was robbed of the Best Supporting Actress win? I'm undecided since it WAS Mercedes McCambridge doing the demon voice.
by Anonymous
reply 241
04/07/2015
I am actually okay with Swank win #2 -- the physicality, the way she committed, the vulnerability. I loved her far more than I loved the movie (which I liked far more when I revisited it post-hype).
But I am in the minority on Win #1 and it won't make me popular here -- couldn't she have done something with her voice in "Boys Don't Cry"? It's too high and gentle and girllish unless she was playing pre-puberty. I still don't buy anyone thinking she was a male and it could've been solved very easily by using a lower tone THROUGHOUT.
Go back and give that one to Bening just to get it over with and her out of the way. Swank can keep the 2004 one.
by Anonymous
reply 242
04/07/2015
P.S. That looping thing on Blair really was a dealbreaker. Plus she was just okay in her non-possessed scenes, final kiss on priest aside.
by Anonymous
reply 244
04/07/2015
Most of her performance was looped by Mercedes McCambridge plus sound FX. The actor equivalent of lip-synching.
WB and the production kept this secret, by the way, so it really was impressive to think a 12 year old girl was doing that voice. Oscar time! Then McCambridge came out of the closet wanting more blockbuster money. Goodbye, Oscar. (Not just Blair's, either).
by Anonymous
04/07/2015
Linda Blair had no chance in hell against Tatum O'Neal anyway.
The only person I could see beating O'Neal would've been Sylvia Sidney (SUMMER WISHES, WINTER DREAMS) perhaps as a sentimental favorite. The problem there was that nobody liked the movie she was in and she was dead in the first fifteen minutes of it.
by Anonymous
reply 246
04/07/2015
It wasn't McCambridge who scuttled Blair's chances as much as Eileen Dietz Delber, who - just before the voting - announced that she had been the physical stand-in for Blair, and that a lot of the footage was her. Friedkin and others denied this, but the damage was done - no one could tell how much of Blair was really on the screen (as it turns out, a lot - Dietz Delber was lying about how much she was featured).
by Anonymous
The Greatest Show on Earth for best picture 1952. Just a horrible BAD movie.
by Anonymous
reply 248
04/07/2015
[quote]Streep’s performance is SNL-level, really; at no point was I convinced that she was Julia Child.
You see what you want to see. I've watched J&J many times and am always convinced I am watching Julia Child.
We've seen this thread a thousand times and every year it's the same people and I still disagree with a lot of the usual suspects.
I think the least deserving of all time is Ginger Rogers, who won giving a hammy performance over
Bette Davis in The Letter
Joan Fontaine in Rebecca
Katharine Hepburn in The Philadelphia Story and
Martha Scott in Our Town
by Anonymous
reply 253
04/07/2015
But then, of course, they give Streep her third coveted Oscar for the godawful IRON LADY.
This performance is the ultimate mixed bag for Streep. Her moments as a doddering octogenarian seeing ghosts of husband past is, without question, some of the best acting she’s EVER given. And if the film were entirely comprised of those Lear-esque moments, I’d have been perfectly fine with her winning her Oscar. But the rest of the film (the bulk of it, sadly) is a trainwreck, and she’s a disaster. Granted, most of the blame should go to Abi Morgan (screenwriter) and Phyllida Lloyd (director), but Streep can’t save it, and the awful makeup makes her look more alien than it should (it’s like she killed the real Thatcher and wore her skin like an Edgar-suit). And to think the makeup also won the Oscar. (I can't believe THE IRON LADY is a two-time Oscar winner.) :-/
In retrospect, I would rather Streep have won for JULIE & JULIA than IRON LADY. At last the former was an enjoyable movie.
by Anonymous
reply 254
04/07/2015
[quote]Most of her performance was looped by Mercedes McCambridge plus sound FX. The actor equivalent of lip-synching.
It was actually Blair and McCambridge's voices blended in.
R247 has is correct. Ellen Burstyn in her book said one of her big regrets was not going to bat more publicly for Linda after Delber came out with that charge. Burstyn said that both her and Blair did most of their own stunts and in one of them both were thrown so violently that both have some permanent damage because of it.
by Anonymous
reply 272
04/08/2015
Shirley Maclaine playing herself (and doing an awful, forced job of it) of the 1000th in Terms of Endearment. Lame.
by Anonymous
reply 273
04/08/2015
Whatev. Shirley MacLaine is the bomb in Terms of Endearment. I vote Helen Hunt, Gwyneth, or Reese W. I didnt find ANY special moments in those performances and I didn't go in closed minded or anything. Just bland. Even Sandy B. had a few nice moments in The Blind Side, sometimes she can bring great charisma or heart to a role. I hate Julia's win for Erin Brokovich. Ellen B. or Laura Linney were FAR more special in their respective films. Julia could have won for Pretty Woman.
by Anonymous
reply 275
04/08/2015
This may be politically incorrect, but they really ought to have awarded Harold Russell only the Honorary Oscar that he received and given the Best Supporting Actor Award in 1947 that he also won to Clifton Webb for The Razor's Edge. The honorary Oscar was established because the Oscar board assumed the voters would not award Russell the competitive one and they didn't want him to be bypassed. He is the only performer to win two Oscars for one role.
Russell played a man who lost both hands in the WWII and had hooks instead so very convincingly because that is exactly what happened to him. He wasn't an actor beforehand (no pun intended) and he was offered no further professional acting work until interest in him was mildly re-kindled in the 1980s.
by Anonymous
Judas Priest, (R107), how could you not like Kitty Foyle?
by Anonymous
reply 281
04/08/2015
Robert DeNiro for the Godfather part two. Nothing remotely special about that performance. John Cazale should have gotten a best supporting nomination instead of DeNiro and Lee Strasberg.
Michael Douglass in Wall Street.
Russell Crowe
Halle Berry. That performance was truly embarrassing.
Marisa Tomei playing a character anyone from Jersey Shore could have done.
Jennifer Lawrence. Saw SLP on netflix and was totally underwhelmed by her performance.
Kevin Spacey for American Beauty. Its just Kevin with a smug look on his being sarcastic just like in every other movie he has made,
Julia Roberts. Sandra Bullock. Renee Zellweger. Cher.
I don't know what the academy sees in George Clooney. Tired of them treating him like he is some damn chairman of the board everytime he shows up. Dude can't act.
Tom Hanks is probably the biggest Oscar bait actor ever along with Streep.
by Anonymous
reply 282
04/08/2015
As much as I like her, but she didn't deserve her third Oscar, ab=nd that was Ingrid Bergman for "Murder On The Orient Express"
by Anonymous
reply 283
04/08/2015
r282, really?. It's one thing to not think that De Niro deserved his first Oscar, but to call it one of the least deserving wins of all time....
by Anonymous
reply 284
04/08/2015
[quote]As much as I like her, but she didn't deserve her third Oscar, and that was Ingrid Bergman for "Murder On The Orient Express"
I always wondered if that win might have cost her winning for Autumn Sonata. I have never seen it, but have heard it was some of her best work.
by Anonymous
reply 285
04/08/2015
I think Halle Berry is excellent in Monster's Ball. All the J. Law haters? She was fucking terrific in SLP, a performance as funny and touching as that can be done by just anyone? No, it can't. And it's why the Oscar went to her.
by Anonymous
I think R269 is as big an idiot as R265.
by Anonymous
reply 289
04/08/2015
SHirley McClaine and Meryl Streep both SUCK big time, I don't know which one is worst and more stuck up. Terms of Endearment is probably the worst movie I have ever seen. Yawn. Horrible writing and acting. Was this a James Brooks mess? I agree with whoever said his writing SUCKS.
The Big Chill is another totally idiotic movie, they should market it as a sleep aide.
by Anonymous
reply 290
04/08/2015
"I think Halle Berry is excellent in Monster's Ball. All the J. Law haters? She was fucking terrific in SLP, a performance as funny and touching as that can be done by just anyone? No, it can't. And it's why the Oscar went to her."
Halle Berry is dreadful in "Monster's Ball." The sex scene she does with Billy Bob Thornton is one of the most grotesque in cinema history and when she starts begging him to fuck her ("make me feeeellll ghuuuuud!") her acting is so bad that it's laughable.
"J-Law" won the Oscar because she is (was?) the current Hollywood It girl. She was quite miscast in the role, but she got because she was the It girl. Anyway, Emmanuelle Riva should have won that year for "Amour." Her performance was definitely superior to Jennifer Lawrence's, but she's old and French. They went with the overrated It girl.
by Anonymous
reply 291
04/08/2015
[quote]Halle Berry is dreadful in "Monster's Ball." The sex scene she does with Billy Bob Thornton is one of the most grotesque in cinema history and when she starts begging him to fuck her ("make me feeeellll ghuuuuud!") her acting is so bad that it's laughable.
The scene that made me cringe was when she started hitting her fat song for hiding junk food. The acting was so amaeurish, and the way she was hitting him was so fake, like she went out of her way to not hit him for real lest she hurt the young actor. The whole scene came off phony.
by Anonymous
reply 292
04/08/2015
Ginger Rogers and Jimmy Stewart both won Best Actress/Actor in 1940, Rogers for her uninteresting turn in Kitty Foyle and Stewart for what was for all purposes a supporting role in. The Philadelphia Story. I cannot stand Stewart; he basically played himself in everything.
by Anonymous
Any Oscar that goes to a non-white person.
by Anonymous
reply 299
04/18/2015
Definitely Gwyneth for "Shakespeare In Love". To beat out Meryl Streep's dying mother performance in "One True Thing"? I sometimes shake my head on that one. Actually, Marisa Tomei was very funny and rather charming in "My Cousin Vinny" but not worthy of an Oscar. Susan Sarandon should have won for "Lorenzo's Oil" but was beaten by Emma Thompson's snooze performance for "Howard's End". Instead, she wins for "Dead Man Walking" playing a nun. Then came the she should have won the year or 2 years ago Oscar. Faye Dunaway wins for "Network" (wow a bitchy female network executive)which that year (1976) should have gone to Sissy Spacek for "Carrie". Dunaway should have won for her superb performance in "Chinatown" in 1974 but was beaten by Ellen Burstyn's play it by the book performance for "Alice Doesn't Live Here Anymore". Burstyn should have won the previous year for her great performance as the shocked mother in "The Exorcist" instead loses to that overrated actress Glenda Jackson. The Academy never gets it right.
by Anonymous
reply 300
04/18/2015
For me: Worst Best Actors Rex Harrison (Downright terrible, all other four nominees acted circles around him) Spencer Tracy (Awful in both, great in other films) David Niven (Charming actor for sure, but not one with depth) Yul Brynner (Seriously, Dean, Hudson, Douglas and Olivier deserved it more than him) George Arliss (Forgotten hammy actor gives a hammy performance (one of the bad kind)) Sean Penn (Utterly awful in both) Gary Cooper (His Sergeant York was awful, when his friend is killed by a hand grenade, he doesn't show any anger whatsoever) John Wayne (Deserved nominations for Red River, She Wore A Yellow Ribbon, The Searchers, The Quiet Man and The Shootist, but not for this one)
by Anonymous
reply 301
01/31/2016
Sean Penn in both of his performances, that horrible Italian in that awful comic Holocaust movie, but both will be eclipsed by DiCrappio finally desperately clutching his tin award to his breast in the next few weeks.
by Anonymous
| Sandra Bullock |
March 10, 1804 saw the US officially take possession of what property, which they purchased from France for a mere $15,000,000? | Least Deserving Oscar Winner of All Time
Follow DL on
Least Deserving Oscar Winner of All Time
It could be an actor, actress, film, director, supporting, etc. Everyone always says Elizabeth Taylor for Butterfield 8 was a Pity Oscar.
What's the one Oscar-winner where you shook your head and said, "Um, what?"
by Anonymous
Greatest Show on Earth, best picture 1952 (?)
by Anonymous
I know there's more. She's just one of the more egregious recent ones.
by Anonymous
Katharine Hepburn - all four wins
Elizabeth Taylor - WHO'S AFRAID OF VIRGINIA WOOLF?
by Anonymous
Don't we do this thread every week?
by Anonymous
I saw Butterfield 8 several years ago. Liz wasn't bad in it at all!
by Anonymous
Definitely Crash. For Acting, Hilary Swank's second.
by Anonymous
Least Deserving Oscar Winner For...
Best Picture: Crash
Best Director: Mel Gibson, Braveheart
Best Actor: Al Pacino, Scent of a Woman
Best Actress: Hilary Swank, Million Dollar Baby
Best Supporting Actor: Christian Bale, The Fighter
Best Supporting Actress: Jennifer Hudson, Dreamgirls
by Anonymous
02/25/2014
Pierre Boulle, Best Adapted Screenplay for Bridge on the River Kwai:
He couldn't even write or speak English: he wrote the book the movie was based on, but didn't contribute a word to the screenplay and was used as a front for blacklisted writers during the McCarthy era
Hugh Griffith, Best Supporting Actor for Ben-Hur:
His performance is utterly forgettable. People mock Charlton Heston's overacting, but at least you remember what he does. Or Pacino going "Hoo-ah!" in Scent of a Woman. Griffith is neither good nor bad, he doesn't do anything! He's just there. At least the scenery-chewers do something.
This one is doubly perplexing as Ben-Hur already had an excellent candidate for Supporting Actor: Stephen Boyd as Messala.
by Anonymous
reply 12
02/25/2014
Liz was terrible in Butterfield 8. She had no chemistry with Laurence Hervey at all. The film would have worked better if it was about a gay guy and his fag hag. Liz would have been brilliant in that role.
Halle Berry might be one crazy cunt but all least she accepted her Razzie! For all her insanity she really was a good sport about everything.
Julia Roberts winning was a farce.What a shitty actress she is.She's not even in the same class as her brother Eric Roberts let alone a Meryl Streep.
by Anonymous
reply 18
02/25/2014
"I Just Called to Say I Love You" as Best Song in 1984 (from "The Woman in Red"). Gimme a fuckin' break! In what universe is that an Oscar-worthy song????
by Anonymous
reply 19
02/25/2014
Get ready for Jennifer Lawrence (x2)! It's gonna happen. And she didn't even need to campaign.
Also, Argo. Why the heck did Hollywood feel bad for Ben Affleck when he didn't get nominated? Dude has never done a significant film and this was only his third directed movie. Probably because they didn't rewatch Argo to see if it held up (it doesn't). Zero Dark Thirty was robbed...Kathryn Bigelow is the one who should've been held up by the industry amid the faux controversy.
by Anonymous
reply 20
02/25/2014
I'm by no means a Swank fan, but I thought she was beyond great in Million Dollar Baby. She's been amazing in exactly 2 roles and was lucky enough to win 2 Oscars as a result. I think it's a shame more potent actors don't even have one, but she was great in both of those roles.
by Anonymous
[quote]Titanic was another undeserving flick.
Well, The Full Monty wasn't deserving either.
by Anonymous
reply 49
02/25/2014
gotta agree with R53. Vivien Leigh was perfection as Scarlett O'Hara. No actress of her time would've been better in the role.
by Anonymous
reply 51
02/25/2014
'Triumph Of The Will' is a good film too, R57. Watching it didn't turn me into a nazi.
by Anonymous
reply 53
02/25/2014
Sandra Bullock for that Lifetime movie where she adopted Shrek. She lives in Texas and she couldn't even manage a Suthun accent. Her face is a botoxed mask.
Sidibe deserved it. But because she was a newcomer, people thought she was some urban teen playing herself. We all know now she couldn't be more different than Precious, and it was an awesome performance.
by Anonymous
[quote]What's the one Oscar-winner where you shook your head and said, "Um, what?"
What? I don't do "Um."
by Anonymous
reply 73
02/25/2014
Katharine Hepburn, On Golden Pond. I know it was sentimental for her and Henry Fonda, but it was completely unnecessary to give her a 4th Oscar when she never showed up to accept a single award. It's hard to imagine that even happening now (a 4 time best actress winner and 12 time nominee who never showed up - not once - when they were nominated).
Barbra Streisand, Funny Girl. If it was a tie, it was only because she became eligible before and could vote for herself (or do I have that wrong?).
I did not mind Streep for The Iron Lady because she should have won for a number of other performances and that was a great performance.
Reese in Walk The Line, or Sandra Bullock in The Blind Side, Julia Roberts for Erin Brockovich, and a lot of the others that have been cited here that were paid for trophies thrown to non-actresses.
by Anonymous
reply 74
02/25/2014
Everyone says Hollywood felt badly for Affleck and gave ARGO Best Pic out of sympathy, but I think its win was more about propaganda. Also, Hollywood loves a film that makes it look like they were the true heroes in an international crisis.
What pissed me off is that I thought the film was pretty good. Not great, not Best Picture material, but a lot better than I expected, especially with that amazing cast of supporting players (except John Goodman, bleah, he stunk). Now I have no warm feelings toward it at all.
by Anonymous
reply 75
02/25/2014
Others have stated - and I agree - that Argo was nothing more than a well made action film that would have been commonplace in the 1990's. It was all the Hollywood self-referencing that made it popular enough to win a best picture Oscar?
I would swap out Tom Hanks for Forest Gump and give it to him this year for Captain Phillips. Not sure why he was not even nominated since he was phenomenal in that film.
by Anonymous
02/25/2014
The woman from Sayonara.
I watched that recently and was shocked she was barely in it. I kept waiting for the Best Supporting Actress caliber performances and it never came.
by Anonymous
reply 77
02/26/2014
Bullock, Roberts and Paltrow all gave competent performances, nothing more, in roles that were not at all demanding. They were career awards.
by Anonymous
Witherspoon, Portman, Lawrence
R45 I agree No Country was a very boring movie!
Roberts is not the worst actress out there, she is definitely better than he 3 I mentioned above. Goop gave a great performance in Shakespeare, but I think she was better in Proof or Sliding Doors, but those were small movies, which never got the attention they deserved. Had she not turned down Titanic for Sliding Doors, she might have gotten another nom.
by Anonymous
reply 86
02/26/2014
Kim Basinger's numbingly boring total of 15 minutes or so on screen in LA Confidential. I'm sorry, but I've never seen evidence that this blond-bimbo-zombie has any acting talent of any kind.
by Anonymous
The winner for Best Sound Mixing in 1961.
by Anonymous
02/26/2014
r34, if you're still here, I'm curious. What's your objection to "Amadeus?"
Not that you owe an explanation, but I love that film; every scene of it. I was just wondering about your reaction.
And, fwiw, I though, Jeffery Jones performance was better then F Murray Abraham's, as good as he was.
by Anonymous
02/26/2014
Della--
I saw the play first and loved it. The movie unnecessarily expanded it and I'm not a Milos Forman fan (don't like the movie of Cuckoo's Nest, either, love the book, or Hair, again loved it on stage.) He's too heavy handed for the great material.
The cast of Amadeus the movie is wonderful.
by Anonymous
[quote] Lonette McKee could act circles around Renee.
was around 50 when the movie was made.
Did Halle turn it down?
by Anonymous
reply 104
02/26/2014
R110 I doubt liz would have won if it wasnt for the pnuemonia. Liz would have agreed. She had done some fine work in the fifties and this was her 4th nomination so i have no problem with her winning for the silly butterfield 8. But if it wasnt for her illness shirley maclaine or deborah kerr would've won.
by Anonymous
reply 105
02/26/2014
Ginger Rogers for Kitty Foyle; and because Rogers won over Joan Fontaine in Rebecca, the Academy gave Fontaine a Oscar for the lesser Suspicion
Josephine Hull in Harvey
Joanne Woodward in Three Faces of Eve
by Anonymous
reply 107
02/26/2014
If O. Russell beats Jonze for original screenplay, he'll deserve to be on the list. The fact that there's still a race over it infuriates me.
by Anonymous
AnnE is annoying as fuck, but she was great in Les Miz.
Roberts never brings anything to a role other than being Julia Roberts
by Anonymous
reply 110
02/27/2014
R120 Funny you should mention Jo Van Fleet. Saturday I watched, for the first time, "East of Eden," which is not a movie that holds up particularly well, except for the gorgeous cinematography. I'd seen Van Fleet in other films (such as "Wild River" and "Cool Hand Luke") and looked forward to her Kate. Needless to say, she owned the time she was on screen--I think someone (Ethan Mordden?) described her characterization as the meanest woman ever, but I saw more depth and nuance to her work. What surprised me was how little screen time she has--the opening scene in the bank, the establishing moments in the house, and the long scene with Dean (and a brief moment when he brings Aron to meet her). I wanted more of her--she was far more interesting than the various juveniles (including Julie Harris, whom I've always loved, but who seemed here mainly to acting with her long hairpiece). I suspect trying to compress the 500-pages of (albeit bloated) Steinbeck's prose meant a lot had to be left out (including the epic time progression), but I wanted more of Van Fleet. Given that Betsy Blair had almost a co-lead in "Marty," which won Best Picture, Director, Actor, and Screenplay, I'm surprised Blair didn't win for her affecting performance.
I agree about Gentleman's Agreement and The Lost Weekend. Even at the time, I suspect GA was viewed as a bit of a pill--and Celeste Holm far less interesting than either Dorothy Maguire and Anne Revere. She got to be the ideal liberal who didn't get the man and was fresh off her Broadway work as Ado Annie, so, since neither Peck nor Maguire were going to get leading awards, voters may have felt like they needed to support one of the actors, and Revere had just won two years earlier (and, for that matter, Dean Stockwell was more compelling and even Jane Wyatt brought a shot of bitters to her stock society dame). Holm might have been better served with an Oscar for All About Eve--she certainly has a much screen time as Baxter and is one of the rotating narrators and does manage some nice subtle work with what might have been a stock part (even though I grew tired, in later years, about hearing how rude Davis and Merrill had been to her--Oh, shit--manners, indeed). No way was she going to take the Oscar away from Mercedes MacCambridge for her force of nature Sadie Burke in All the King's Men. Hull's Oscar was a sentimental one, but also a skillful piece of comic acting (which she'd been doing onstage for some time)--she actually provides some heart and life to "Harvey"--Stewart is fine as Elwood, but, since he's basically an alcoholic, passive, sweet man, someone has to provide some brio.
In the year Holm won, I would have said Revere, Gloria Grahame (for the first memorable one of her sullen slatterns in "Crossfire"), even Marjorie Main in her vivid Ma Kettle might have been more deserving. Ethel Barrymore is haunting as the wounded, abused wife of Laughton in "The Paradine Case," but her performance is shorter than Van Fleet's was later (maybe rivaling Dench and Straight in its brevity, as well as the role for which Grahame eventually won--in "The Bad and the Beautiful"). If they gave an award for cameo (ten minutes or under), she would have won handily--but there are already enough categories.
by Anonymous
reply 111
02/27/2014
In the immediate sense of not deserving an Oscar for the role they won for, I'd actually vote for Denzel Washington in Training Day. It's such a generic role which only requires that he squints in anger and screams. It plays like a TNT movie. I'm dumfounded that anyone would deem it Oscar worthy.
That said, I'm thinking he was receiving a career achievement Oscar. If he were going to win best actor Oscar, it should have been for X or The Hurricane. But, he didn't win for those and since he had been around, was generally respected, I think he got a make-up Oscar for Training Day. Though, did he really need it? He did have a supporting actor Oscar or Glory already.
by Anonymous
Carol Reed winning BD over two cinematic masterpieces:
Stanley Kubrick, 2001
Gillo Pontecorvo, Battle of Algiers
by Anonymous
reply 114
02/27/2014
Thank you, R101. I would have loved to have seen Hepburn with Streisand, but it makes sense Kate did not show up to lose. But still it's kind of unlikely to happen now. "I am just too busy, but, oh sure, give me 4!" I still think it's fascinating Hepburn had a long career, won 4, Streep won right after her, and Streep has never stopped. Jennifer Lawrence is maybe the next overlap but who knows.
by Anonymous
02/27/2014
Hepburn never showed up to the Oscars for any of her nominations.
Some director (Cukor?) who accepted her Oscar in 1968 wrote in his memoirs that he put he put the Oscar in a paperbag on the top shelf of her coat closet. (she let him stay in her LA home.) Twenty years or so later he received an honorary award and she let him stay in her house again. He said he looked in the closet and the Oscar was still there in the bag, untouched.
by Anonymous
Streep is unlikely to beat Hepburn's record, R126
by Anonymous
reply 118
02/27/2014
Everyone who won an Oscar for "The Silence of the Lambs". I've had ham sandwiches that were less hammy than the acting in this movie.
by Anonymous
02/27/2014
In my life time...
Cher Whoopie Sandra Bullock. Meryl for the iron lady and I'm still not sure about Krammer vs Krammer Helen Hunt Jennifer Hudson Jack Palance Jamie Foxx a complete joke of a performance but boy did this bitch campaign for that oscar. Don Cheadle was amazing in Hotel Rwanda and should have won. Hilary horse face Swank for Million Dollar Baby. Annette's asshole should have scars from that blatant ass fuck with no ky. Reese Witherspoon Didn't even come close to June Carter. How this win happened is a real puzzle.
But above all those the single most undeserving oscar winner in my life time goes to......
Halle Berry.
reply 121
02/27/2014
R132 LOL At the time I thought Hopkins performance was brilliant and Foster was her usual cold dykish self. I think the performances now look "hammy" because of all the years of satire about it. The movie was engrossing also at the time. So I'm sorta on the fence if it deserved the oscar. Now if we are talking Slumdog Millionaire which didn't deserve one damn thing then I'd agree completely. I have purposefully watched it three times to find something good in that movie and every time someone has watched it with me they say the exact same thing I'm thinking... This shit won best picture?
by Anonymous
I always think Foster overacts. I find her personality and her work as an actress un-watchable.
by Anonymous
reply 123
02/27/2014
I'm also not a fan of Foster. Her voice is annoying and she comes off cold. The only performance of hers that I can watch is NELL because it's funny as fuck to me watching her act like a moron. There's all kinds of slop going on in that mess of a movie. From the "special" Nell language to her doing a happy jig exposing her little tits. It's sorta my own personal rocky horror show where you can mock her the entire time. They actually put that in movie theaters.
by Anonymous
reply 125
02/27/2014
Slumdog Millionaire -- I think we have a winner of this thread! What an overrated piece of tripe.
I totally disagree with what others have said about The Lost Weekend. I saw it about two years ago and the film definitely holds up. I'm a recovering alkie myself and an the alcoholic's self-delusion felt painfully familiar. The guy's journey was genuinely harrowing. I'll even defend the final scene as representing not so much an unpersuasive "happy ending" as just another example of how he's fooling himself. That's how Billy Wilder saw it as well.
One of the most interesting things about The Lost Weekend, to me, is that it was pre-AA, or at least, it was based on a novel by someone who, at the time, was unfamiliar with the AA program. Therefore, it escapes some of the cliches that we see in virtually every other movie about alcoholism, which view alcoholism and recovery from it through the AA paradigm. I'm not knocking AA at all -- I've benefited from it enormously. But unfortunately, it's led to some very tired story-telling in films about alcoholism and addiction.
by Anonymous
The absolute least deserving of all time?
THE GREATEST SHOW ON EARTH's Best Picture Oscar.
It's all well and good to note how bad the choices of Norma Shearer, Mary Pickford, GREATEST SHOW ON EARTH and such are, but among films in the last 20 years, by category, I'd say:
Picture: CHICAGO Director: Danny Boyle for SLUMDOG MILLIONAIRE (and that was close for Best Picture.) Actor: Roberto Benigni Actress: Reese Witherspoon Supporting Actor: None was least deserving. I didn't like several, but they all were good performances. Supporting Actress: Jennifer Hudson, CZJ and Renee Zellwegger
(R64 is just peevish, and R69 is insane, of course.)
by Anonymous
reply 149
02/28/2014
Roberto Benigni made an impact with "Life Is Beautiful" - he may not be the greatest actor, but there was some justification for that award.
by Anonymous
Pickford is unbelievably godawful in "Coquette". Probably the worst "acting" ever even NOMINATED for an Oscar.
by Anonymous
reply 153
03/01/2014
Any Oscar connected to "As Good As It Gets." Just a horrible, sappy movie with terrible performances all around. Helen Hunt has never been anything but a sit-com actress and that's exactly the performance she gave. Nicholson was smarmy and pompous.
Also Reese Witherspoon for Walk the Line. Any actress with two classes under her belt could have done what she did.
by Anonymous
reply 154
03/01/2014
There have been so many undeserving Oscar winners. But if I had to pick just one, it would be Roberto Benigni. He did a slapstick movie about the Holocaust and critics fell all over themselves praising the thing. I saw it; there was nothing exceptional about it at all. And it was distasteful to see Benigni capering and mugging amongst the Nazis. I didn't find it funny.
He won the Oscar over Tom Hanks (Saving Private Ryan), Nick Nolte (Affliction), Ed Norton (American History X) and Ian McKellen (Gods and Monsters). ALL the other nominated actors gave better performances than Benigni.
He also won the Oscar for best foreign film for his trifling little Holocaust comedy.
Thankfully, he destroyed his film career by his vanity production of "Pinocchio." It was an elaborate live action version of the children's story with the middle-aged Benigni playing the boy puppet. It was universally panned and Benigni's career never really gained momentum again after that. Good!
by Anonymous
reply 155
03/01/2014
I was open to Benigni - didn't know him and didn't have any biases. I loathed the movie and think he was the least deserving actor winner in the last 20 years, compared to all the other actors winning over that time. You can suggest it was a matter of style or whatever - he and his film creeped me out, period. And of course his behavior at the Oscars pretty much took care of everything else for him, sealed by that Pinocchio monstrosity.
I still can see Sophia Loren's happiness in announcing her countryman's name.
Poor Sophia.
03/01/2014
Why didn't Helen Hunt present Best Actor?
I think it was a tip-off when Sophia Loren presented. Just like when Streisand presented Best Director when Katharine BIgelow won.
This year, they're having Sidney Poitier present Best Director or Best Picture (forget which) so I wonder who/which will win? (sarcasm). It's the 50th anniversary of his historic Best Actor win so I'm sure the Academy will make a statement, just like when they awarded Denzel and Halle the Oscar the same night that they gave Poitier an honorary award.
by Anonymous
reply 157
03/01/2014
Streep has already beat Hepburn's records for nominations, and I do think she will end up with 21 nominations and 5 Oscars. She may never beat Hepburn with 4 best actress wins, that is unlikely to ever happen again now because of campaigning and money spent to achieve one Oscar.
by Anonymous
reply 158
03/01/2014
I still can't believe GANDHI (aka 101 ways to wear a sheet) won for Costume Design, especially against the likes of LA TRAVIATA.
by Anonymous
reply 160
03/01/2014
I love Roberto Benigni. Go see Jim Jarmusch's 'Night on Earth.' Benigni plays a taxi driver giving a priest a ride. It's unbelievably funny.
For least deserving, I might have to pick -- but it pains me because I love her as an actor -- Judi Dench in Shakespeare in Love. I mean... there's just so little material there.
by Anonymous
reply 161
03/01/2014
Dench admitted that herself in her speech, R178. She should have won the year before for "Mrs. Brown".
by Anonymous
reply 162
03/02/2014
R161 I wasn't keen on Zellweger in Cold Mountain either but I actually though she totally deserved to beat Kidman the yeat she was up for Chicago
by Anonymous
reply 163
03/08/2014
Mary Astor in the best supporting actress category for the Great Lie. She said that she would have preferred to win for Maltese Falcon. I agree. She should have won for Maltese Falcon
by Anonymous
reply 165
03/08/2014
Gosford Park- Best Original Screenplay over Memento, Amelie and The Royal Tenenbaums, as well as Donnie Darko not being nominated
by Anonymous
Mira Sorvino for Mighty Aphrodite (hell, she was better in Romy & Michele)
Alan Arkin for Little Miss Sunshine (though it was a long & distinguished career Oscar)
Cuba Gooding Jr for Jerry Maguire
Michael Caine for The Cider House Rules AND Hannah & Her Sisters
Tommy Lee Jones for The Fugitive (how he beat Ralph Fiennes' gobsmacking performance in Schindler's List with a serviceable turn in a mainstream action thriller I'll never know)
John Gielgud for Arthur (it was probably just because he was considered one of the greatest actors of the 20th century and hadn't won an Oscar before)
by Anonymous
reply 176
04/06/2015
R175 Caine is quite wretched in Cider House. But he is well liked in the industry. The way he singled out every loser in his category and said something nice about them after he won. Very classy. Gooding winning for his mugging and show me the money bs. That really sucked. Bill Macy and Ed Norton losing to him. No words.
by Anonymous
reply 177
04/06/2015
Heath Ledger for The Dark Knight. If he hadn't died (and the fanboys hadn't raised a stink over TDK being 'snubbed' for Best Picture), he probably wouldn't have been nominated.
by Anonymous
reply 178
04/06/2015
R177 Michael Caine is fine in many other things, don't get me wrong (of course he's also done a lot of dross as well) but the roles he won Oscars for are so underwhelming. What was it about him in Hannah and Her Sisters that was considered better than average for a Woody Allen film?
I'd say Get Carter was his best performance. Or maybe Alfie.
by Anonymous
Cavalcade, best picture 1933, the year of Duck Soup and King Kong.
by Anonymous
reply 181
04/06/2015
R179 I think it was mostly a career Oscar for Hannah. He had been nominated three times previous and had a lot of great work under his belt by then. But it still was a bit of a surprise he won. Tom Berenger won the globe and with the popularity of Platoon most pundits were picking him to win.
by Anonymous
reply 182
04/06/2015
You only need to read threads like this to realize how irrelevant & politically motivated most Oscars & other awards are.
All a total waste of time, since very little is based on actual achievement & excellence.
Watch what you like & enjoy it. Fuck what other ppl think.
by Anonymous
reply 183
04/06/2015
[quote]John Gielgud for Arthur (it was probably just because he was considered one of the greatest actors of the 20th century and hadn't won an Oscar before)
Well, I worked in a movie theater and stood in the back of the house and listened to the huge laughs he got. It is so rare a comedic performance wins and he deserved it.
by Anonymous
reply 184
04/06/2015
ONE? Who can pick just one? Here's a list of people I thought were totally undeserving of their Oscars:
Whoopi Goldberg
reply 186
04/06/2015
Stephen Sondheim for that horrid song Madonna sang in Dick Tracy. If anyone else had written it, it wouldn't even have been nominated.
by Anonymous
reply 187
04/06/2015
Lupita. Cuba. SANDRA NO TALENT BOO HOO I LOVE LOUIS B U L L O C K. Gwyneth. HALLE NO TALENT NO TALENT NO TALENT BERRY! Charlize. Jack Nicholson fugly creep. Shirley McClain. so many more. Does Clooney have one? If yes, then add him. Renee. Mel.
AND Jean du Jardin and The Artist deserved all of the awards and accolades it got! And Berenice Beijo should have won best actress for it. AND GONE WITH THE WIND is a GREAT movie, NOT racist! MAMMY is the smartest character and best actress in the whole thing--HOW is it racist?
by Anonymous
R183 Well sometimes they get it right. JK Simmons this year for example.
by Anonymous
reply 190
04/06/2015
John Gielgud, Josephine Hull and Helen Hayes in "Airport" were all actors with distinguished careers, even if mainly in the theater, who gave much appreciated at the time, audience-pleasing performances. Jo Van Fleet had a very spotty career, and evidently was a pretty troubled individual, but she is fine in "East of Eden" and even better in "Wild River", which, had it been a hit, should have given her a second Oscar. One pretty undeserved Oscar I can think of is Shirley Jones in "Elmer Gantry". She won it because Laurie from "Oklahoma" actually played a prostitute, but any credible actress could have done the role and been just as good.
by Anonymous
Al Pacino for Scent of a Woman
Jack Nicholson for As Good As It Gets
by Anonymous
reply 192
04/06/2015
Sofia Coppola. Her "talent" is minimal, to say the least. In interviews she seems downright mentally challenged. She won an Oscar because her last name is Coppola. The Oscars suck.
by Anonymous
reply 193
04/06/2015
"The Last Time I Saw Paris" winning for Best Song when it should have been ineligible. It wasn't written for the film "Lady Be Goid" and had been performed and recorded by several artists before it was used in the film. The song's composer Jerome Kern was embarrassed when he won. The fact that wartime sentiment allowed it to beat out Harold Arlen's superb "Blues in the Night" is ridiculous.
by Anonymous
reply 194
04/06/2015
There are also several WTF wins in the original score category where the Academy seems to confuse the concept of original score with songs in a musical (Fame, Thoroughly Modern Millie, etc.). And I don't even remember there being music in "Butch Cassidy" except for the "Raindrops Keep Falling on my Head" song (seriously, there's something like 10 minutes of underscore in the whole film).
by Anonymous
reply 195
04/06/2015
Crash was a watered down version of the 1991 film Grand Canyon, which ironically had superior screenplay and acting, but was only nominated for best original screenplay.
by Anonymous
R190, ugh, no. Terrible win. Norton was robbed.
by Anonymous
reply 200
04/06/2015
Oh my God, how could I have forgotten Robert Benigni! His Oscar was a fucking travesty. The other nominees were Ian McKellen (Gods and Monsters), Ed Norton (American History X), Nick Nolte (Affliction) and Tom Hanks (Saving Private Ryan). Ian McKellen should have won. Or Nick Nolte. Or Ed Norton. They ALL gave vastly superior performances. Tom Hank's performance wasn't as strong as theirs but he too would have been more deserving than the idiot Benigni. His cutesy Holocaust movie also won an undeserving Oscar for Best Foreign Film. Benigni, who after winning two Oscars no doubt thought he could do anything, followed up his cheery Holocaust comedy with a live action version of "Pinocchio" (the middle-aged Benigni played the boy puppet), which was so bad it effected ended his film career in America.
I also forgot Cuba Gooding Jr. He sure as hell did not deserve an Oscar.
And Charlize Theron. Formerly considered just a fine piece of Hollywood ass (she was frequently nude in her movies) she gained a few pounds, put in some fake teeth and spackled on ugly makeup and voila to play a serial killer and voila! It's Oscar time!
"The Man That Got Away" losing Best Song to "Three Coins In The Fountain."
by Anonymous
reply 201
04/06/2015
Cuba Gooding won because the year before (like this year) there was an uproar over there not being any black nominees.
So they overcompensated.
reply 208
04/07/2015
The Academy award are something like a bad high school popularity contest (if the students had unlimited money to buy votes with), with awards frequently given for solely out of guilt, sentiment, and in a vain attempt to absolve the Academy of horrendous poor decision-making in previous years.
2006 - Best Picture Crash Many critics accused the Academy of homophobia for failing to award the Oscar for Best Picture to Brokeback Mountain. Michael Jensen noted that prior to the Oscar ceremony, Brokeback Mountain became "the most honored movie in cinematic history", winning more Best Picture and Director awards than previous Oscar winners Schindler's List and Titanic combined.
2002 - Heath Ledger's performance in Monster's Ball was not nominated by the Academy. Instead the Academy gave the 2002 Best Supporting Actor Award to Chris Cooper in Adaptation (WTF).
2006 - Heath Ledger was nominated for Best Actor in Brokeback Mountain. But the Academy gave the award to Philip Seymour Hoffman for Capote in a role Hoffman played (albeit brilliantly) a cliched, effeminate, self-hating gay man, who betrays everyone involved.
2009 - Heath Ledger was finally award an Academy award for his role as The Joker in The Dark Night, posthumously. A posthumous award covers a multitude of sins in an inherently corrupt awards process.
by Anonymous
reply 209
04/07/2015
Amazing actress but Glenda Jackson's win for "A Touch of Class" is truly a bizarre one. She almost walks through it and still feels miscast as a sex object. Love her or hate her, that should have been Streisand's second -- a movie that is still beloved today while nobody remembers "Touch of Class".
by Anonymous
reply 210
04/07/2015
[quote]2006 - Heath Ledger was nominated for Best Actor in Brokeback Mountain. But the Academy gave the award to Philip Seymour Hoffman for Capote in a role Hoffman played (albeit brilliantly) a cliched, effeminate, self-hating gay man, who betrays everyone involved.
What bugged me about Hoffman's win was it had been done before. Robert Morse did it on Broadway and it was taped for TV. I never got what was so brilliant about doing a carbon copy.
Same thing with Marion Cotillard/Jane Lapotaire and Forrest Whitaker and whoever it was who did the same role in Raid on Entebee.
by Anonymous
reply 211
04/07/2015
When the hell has Bullock ever given an Oscar deserving performance? I agree that the year she won was relatively weak, but it doesn't change the fact that she gave a Lifetime acting job in a movie of the week film.
by Anonymous
reply 212
04/07/2015
We make fun of her on DL all the time but that was truly Gaby Sidibe's award -- especially since it turns out she is nothing like that character. Bullock's award is really embarrassing now in retrospect (and I even like her).
by Anonymous
I lot of people thought Gravity was other worthy.
by Anonymous
reply 214
04/07/2015
Halle, Cuba, and Sandra seem to be leading the way in the most UNDESERVING category! Which gives us all renewed faith in the taste of the DLers--at least the ones on this thread. Three people who do not have even a shred of acting ability. One beautiful (does that mean she should have an Oscar?), one who can be funny and seems like a nice guy, and one who is very bizarre and looks like an anteater...and appeared in Gravity--which is easily one of the absolute worst films ever made.
Helen Hunt also has no acting ability whatsoever.
Shirley Maclaine is a weird actress who has played herself for over 50 years--look back at Gittle in the awful Two for the Seesaw (it was on TMC last year--I had never heard of it)--her wooden bitchy performance in Steel Magnolias and her half asleep turn on Downton Abbey. She plays the same in each. She never should have been on Downton.
by Anonymous
reply 215
04/07/2015
I have to agree with those who have mentioned Argo. Totally forgettable flick that shouldn't have even been nominated. The industry's love affair with Ben Affleck totally baffles me.
by Anonymous
reply 216
04/07/2015
There's no way in hell Geoffrey Rush deserved the award for Shine. The kid who played the younger David carried that entire movie and character and then 30 minutes to the end, Geoffrey comes in and gets placed as the Best Actor Nominee/Winner.. AND he didn't even thank the kid.
by Anonymous
reply 217
04/07/2015
Watch Joanne Woodward's surprised reaction when Glenda Jackson's name is announced as the Best Actress winner for "A Touch of Class".
Also, note the last public appearance by Susan Hayward. Very ill with cancer, they had to shoot her up with painkillers backstage before she entered on Charlton Heston's arm.
by Anonymous
Both Cher AND Olympia Dukakis for that piece of celluloid shit "Moonstruck".
by Anonymous
reply 219
04/07/2015
I actually think Bullock's performance elevated the Blindside a bit of above the movie of the week script and story. She took what could have been a very over the top character and kept her grounded. She might not have deserved the Oscar, but her performance carried the movie. I would say it was at least worthy of a nomination (but probably not a win). There are lesser deserving Oscars out there.
by Anonymous
reply 220
04/07/2015
If Bullock hadn't won, we wouldn't have that humiliating acceptance speech where she thanked her piece of shit husband profusely, days before the story broke that he'd been cheating on her.
by Anonymous
reply 221
04/07/2015
I think people also underestimate Bullock's performance in Gravity. Sure, people might think the movie may have sucked but at the same time, people don't think about what goes into acting by yourself, and acting in a situation when there's not actually anything in front of you and you're using your imagination because you're in front of a green screen.
by Anonymous
reply 225
04/07/2015
[quote]AND GONE WITH THE WIND is a GREAT movie, NOT racist! MAMMY is the smartest character and best actress in the whole thing--HOW is it racist?
She is still a stereotype of the archetype Southern mammy. Heck, she is even named 'Mammy.' and she played the same role previously in the film version of SHOW BOAT.
Not to mention the other black characters are portrayed as Stepin Fetchit stereotypes (i.e. laxy, slow-talking, dimwitted, adult-chidlren).
Granted, Selznick asked for the NAACP's input when adapting the book, which is even more racist and stereotypical, but by today's standards, GWTW still miles away from being a fair portrait of plantation life.
My main issue is that it portrays it as an idyllic magical place, and the slaves have no complaints and are kindly treated as they happily go about their servitude. The opening is downright insulting:
[quote]There was a land of Cavaliers and Cotton Fields called the Old South... Here in this pretty world Gallantry took its last bow... Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave... Look for it only in books, for it is no more than a dream remembered... A Civilization gone with the wind...
Yeah, more like a nightmare for the many slaves.
by Anonymous
Hilary Swank for M$B. How hard is it to play white trash?
by Anonymous
04/07/2015
Totally agree about Ledger possibly not winning (or even nominated) had he not died.
For one, the Academy had never nominated a comic book character. Well, if you want to count Pacino in DICK TRACY, but by then Pacino was a legend and already had 5 nominations (and zero wins) over an 18-year period with classics like THE GODFATHER PARTS I & II, DOG DAY AFTERNOON, and SERPICO. Ledger's filmography wasn't very impressive by comparison.
In 1989, Jack Nicholson's name was tossed around for a nomination for his Joker in BATMAN, and even though he was already a 2-time Oscar-winner with 9 nominations, they overlooked him. Same with Michelle Pfeiffer's Catwoman. I remember there was some buzz about her performance, but in the end they gave it to her for LOVE FIELD instead, which Siskel & Ebert called the worst nomination of the Best Actress bunch that year.
Anyhoo!
Who knows what would've happened had Ledger lived. Maybe he'd gotten the nomination after all. But one thing's for certain: his early death certainly helped DARK KNIGHT at the box office and cemented his win. You can't deny that played no major part in it.
He's great in the role and, yes, during filming, Ledger's co-stars were saying he was doing an incredible job, but it wasn't until he died (2-3 months after filming wrapped up) that "Oscar" started being mentioned. So even though Ledger was getting raves by his co-stars (not critics, mind you, 'cause the movie wasn't even finished yet) nobody considered that he would get an Oscar nomination, much less win, until AFTER he died.
So his early death (only 28), coupled with the fact that the film became a huge success, the highest-grossing film of the year and the second highest grossing of all time domestically (after TITANIC), and became a cultural phenomenon, made him the foregone winner.
But had he not died, would he still have been the frontrunner? I think Robert Downey, Jr., a 20+ veteran and former nominee, would've taken it. He was having a career resurgence that year with two big hits (TROPIC THUNDER and IRON MAN) and had the comeback narrative. If Ledger had not died, he would not have had any narrative, just a comic book movie.. He would've been praised, no doubt, but at 28 the Academy would not have felt the need to award him. Though they often award female twentyseomthings in Best Actress/Supporting Actress, they very rarely award ,male twentysomethings.
For example, in the Supporting Actor category's 78 years of existence, only three other twentysomething actors have won: Cuba Gooding, Jr. (age 29) for JERRY MAGUIE (1996), Timothy Hutton (age 20) for ORDINARY PEOPLE (1980), George Chakiris (age 27) in WEST SIDE STORY (1961). That's only four actors in their twenties (Ledger included) in 78 years! The winners are usually in their 40s or 50s (or older), with the occasional thirtysomething,
Thus, Ledger's young age would've worked against him, as well as THE DARK KNIGHT's comic book genre. I mean, the Academy didn't respect it enough to nominate it for Best Picture or Best Director. I mean, it got 8 nominations (and won two), but they were all tech categories (Visual Effects, Sound Mixing, Makeup, Film Editing, Cinematography, Sound Editing, Are Direction). These are viewed as "lesser" awards. Ledger's was the only big category (Picture, Director, Actor, Actress, Supporting Actor, Supporting Actress, Screenplay).
by Anonymous
04/07/2015
[quote]but there was nobody else deserving the year Sandra Bullock won
Bullshit! Gabourey Sibide should've taken it. She was the most deserving of the 5, but neither she nor Carey Mulligan had a chance, being newcomers and first-time nominees. I think they were #'s 3 and 4, respectively, with Helen Mirren dead last, having just won three years previously.
Unfortunately, the race came down between Bullock and Streep, which is a shame 'cause none of their performances were that great. Still, Bullock was the lesser of two evils, so to speak.
I couldn't stomach Streep winning her third Oscar for JULIE & JULIA. That's a first Oscar win; second or third Oscars should be more impressive. I can't believe that hing was on its way to winning and they were just going to sit back and let it happen. It took Sandra Bullock coming out of nowhere to derail this train, and I’m glad it did. Streep’s performance is SNL-level, really; at no point was I convinced that she was Julia Child. It was a hideously obvious “performance” that sapped any sort of believability from the film. So thank you, Sandra Bullock.
by Anonymous
Natalie Portman earned her win...
by Anonymous
reply 231
04/07/2015
YOUR opinion is a piece of shit, r219, or any other of you other armchair DL critics opinions here. Just what have you accomplished that is Oscar worthy or gives you the cred to decide?
by Anonymous
reply 232
04/07/2015
[quote]AND GONE WITH THE WIND is a GREAT movie, NOT racist! MAMMY is the smartest character and best actress in the whole thing--HOW is it racist?
That's Best SUPPORTING actress in the whole thing and don't you forget it.
by Anonymous
04/07/2015
So many ways to answer this question.
Winners who didn't do much of anything to win, some of whom were being rewarded for body of work or being egregiously overlooked for specific other work.
Winners who stole oscars from much more deserving competition.
Winners who gave out and out bad performances.
But when you think of the whole thing it's a farce.
At its most honest, it's not awarded to the performance that is necessarily the most accomplished (however one defines that, always subjective) but rather for having gotten the role that's the most impressive and doing it justice.
In other words, it should be presented as the award for the performer who got the plummest role and didn't disappoint.... but that's not the same as giving the most accomplished performance. Often time great acting is making something extraordinary or memorable out of material that just isn't.
by Anonymous
reply 234
04/07/2015
"Sweet Lelani" (Harry Owens) from WAKIKI WEDDING winning "Best Song of 1937" over "They Can't Take That Away from Me" (Gershwins) from SHALL WE DANCE and "That Old Feeling" (Fain-Brown) from VOGUES OF 1938.
by Anonymous
reply 235
04/07/2015
The only person who should've been nominated from JULIE AND JULIA was Jane Lynch. She was heartbreaking. A very surprising performance that was actually smug-free.
by Anonymous
reply 237
04/07/2015
[quote]Instead the Academy gave the 2002 Best Supporting Actor Award to Chris Cooper in Adaptation (WTF).
That was absolutely a deserving win. It was a great performance, and it was truly supporting.
by Anonymous
reply 238
04/07/2015
I agree with R238. Cooper's is one of the best supporting actor wins of the 2000s. I even think that Meryl should've won that year alongside him. Loved her no-holds-barred performance in that. It was decidedly free of many of her usual tics.
Also, Heath Ledger's performance in "Monster's Ball" was not even the same year as Cooper's in "Adaptation" so I really don't know what that poster's going on about.
by Anonymous
Helen Hunt, I can't stand that cunt.
by Anonymous
reply 240
04/07/2015
Does anyone here feel Linda Blair was robbed of the Best Supporting Actress win? I'm undecided since it WAS Mercedes McCambridge doing the demon voice.
by Anonymous
reply 241
04/07/2015
I am actually okay with Swank win #2 -- the physicality, the way she committed, the vulnerability. I loved her far more than I loved the movie (which I liked far more when I revisited it post-hype).
But I am in the minority on Win #1 and it won't make me popular here -- couldn't she have done something with her voice in "Boys Don't Cry"? It's too high and gentle and girllish unless she was playing pre-puberty. I still don't buy anyone thinking she was a male and it could've been solved very easily by using a lower tone THROUGHOUT.
Go back and give that one to Bening just to get it over with and her out of the way. Swank can keep the 2004 one.
by Anonymous
reply 242
04/07/2015
P.S. That looping thing on Blair really was a dealbreaker. Plus she was just okay in her non-possessed scenes, final kiss on priest aside.
by Anonymous
reply 244
04/07/2015
Most of her performance was looped by Mercedes McCambridge plus sound FX. The actor equivalent of lip-synching.
WB and the production kept this secret, by the way, so it really was impressive to think a 12 year old girl was doing that voice. Oscar time! Then McCambridge came out of the closet wanting more blockbuster money. Goodbye, Oscar. (Not just Blair's, either).
by Anonymous
04/07/2015
Linda Blair had no chance in hell against Tatum O'Neal anyway.
The only person I could see beating O'Neal would've been Sylvia Sidney (SUMMER WISHES, WINTER DREAMS) perhaps as a sentimental favorite. The problem there was that nobody liked the movie she was in and she was dead in the first fifteen minutes of it.
by Anonymous
reply 246
04/07/2015
It wasn't McCambridge who scuttled Blair's chances as much as Eileen Dietz Delber, who - just before the voting - announced that she had been the physical stand-in for Blair, and that a lot of the footage was her. Friedkin and others denied this, but the damage was done - no one could tell how much of Blair was really on the screen (as it turns out, a lot - Dietz Delber was lying about how much she was featured).
by Anonymous
The Greatest Show on Earth for best picture 1952. Just a horrible BAD movie.
by Anonymous
reply 248
04/07/2015
[quote]Streep’s performance is SNL-level, really; at no point was I convinced that she was Julia Child.
You see what you want to see. I've watched J&J many times and am always convinced I am watching Julia Child.
We've seen this thread a thousand times and every year it's the same people and I still disagree with a lot of the usual suspects.
I think the least deserving of all time is Ginger Rogers, who won giving a hammy performance over
Bette Davis in The Letter
Joan Fontaine in Rebecca
Katharine Hepburn in The Philadelphia Story and
Martha Scott in Our Town
by Anonymous
reply 253
04/07/2015
But then, of course, they give Streep her third coveted Oscar for the godawful IRON LADY.
This performance is the ultimate mixed bag for Streep. Her moments as a doddering octogenarian seeing ghosts of husband past is, without question, some of the best acting she’s EVER given. And if the film were entirely comprised of those Lear-esque moments, I’d have been perfectly fine with her winning her Oscar. But the rest of the film (the bulk of it, sadly) is a trainwreck, and she’s a disaster. Granted, most of the blame should go to Abi Morgan (screenwriter) and Phyllida Lloyd (director), but Streep can’t save it, and the awful makeup makes her look more alien than it should (it’s like she killed the real Thatcher and wore her skin like an Edgar-suit). And to think the makeup also won the Oscar. (I can't believe THE IRON LADY is a two-time Oscar winner.) :-/
In retrospect, I would rather Streep have won for JULIE & JULIA than IRON LADY. At last the former was an enjoyable movie.
by Anonymous
reply 254
04/07/2015
[quote]Most of her performance was looped by Mercedes McCambridge plus sound FX. The actor equivalent of lip-synching.
It was actually Blair and McCambridge's voices blended in.
R247 has is correct. Ellen Burstyn in her book said one of her big regrets was not going to bat more publicly for Linda after Delber came out with that charge. Burstyn said that both her and Blair did most of their own stunts and in one of them both were thrown so violently that both have some permanent damage because of it.
by Anonymous
reply 272
04/08/2015
Shirley Maclaine playing herself (and doing an awful, forced job of it) of the 1000th in Terms of Endearment. Lame.
by Anonymous
reply 273
04/08/2015
Whatev. Shirley MacLaine is the bomb in Terms of Endearment. I vote Helen Hunt, Gwyneth, or Reese W. I didnt find ANY special moments in those performances and I didn't go in closed minded or anything. Just bland. Even Sandy B. had a few nice moments in The Blind Side, sometimes she can bring great charisma or heart to a role. I hate Julia's win for Erin Brokovich. Ellen B. or Laura Linney were FAR more special in their respective films. Julia could have won for Pretty Woman.
by Anonymous
reply 275
04/08/2015
This may be politically incorrect, but they really ought to have awarded Harold Russell only the Honorary Oscar that he received and given the Best Supporting Actor Award in 1947 that he also won to Clifton Webb for The Razor's Edge. The honorary Oscar was established because the Oscar board assumed the voters would not award Russell the competitive one and they didn't want him to be bypassed. He is the only performer to win two Oscars for one role.
Russell played a man who lost both hands in the WWII and had hooks instead so very convincingly because that is exactly what happened to him. He wasn't an actor beforehand (no pun intended) and he was offered no further professional acting work until interest in him was mildly re-kindled in the 1980s.
by Anonymous
Judas Priest, (R107), how could you not like Kitty Foyle?
by Anonymous
reply 281
04/08/2015
Robert DeNiro for the Godfather part two. Nothing remotely special about that performance. John Cazale should have gotten a best supporting nomination instead of DeNiro and Lee Strasberg.
Michael Douglass in Wall Street.
Russell Crowe
Halle Berry. That performance was truly embarrassing.
Marisa Tomei playing a character anyone from Jersey Shore could have done.
Jennifer Lawrence. Saw SLP on netflix and was totally underwhelmed by her performance.
Kevin Spacey for American Beauty. Its just Kevin with a smug look on his being sarcastic just like in every other movie he has made,
Julia Roberts. Sandra Bullock. Renee Zellweger. Cher.
I don't know what the academy sees in George Clooney. Tired of them treating him like he is some damn chairman of the board everytime he shows up. Dude can't act.
Tom Hanks is probably the biggest Oscar bait actor ever along with Streep.
by Anonymous
reply 282
04/08/2015
As much as I like her, but she didn't deserve her third Oscar, ab=nd that was Ingrid Bergman for "Murder On The Orient Express"
by Anonymous
reply 283
04/08/2015
r282, really?. It's one thing to not think that De Niro deserved his first Oscar, but to call it one of the least deserving wins of all time....
by Anonymous
reply 284
04/08/2015
[quote]As much as I like her, but she didn't deserve her third Oscar, and that was Ingrid Bergman for "Murder On The Orient Express"
I always wondered if that win might have cost her winning for Autumn Sonata. I have never seen it, but have heard it was some of her best work.
by Anonymous
reply 285
04/08/2015
I think Halle Berry is excellent in Monster's Ball. All the J. Law haters? She was fucking terrific in SLP, a performance as funny and touching as that can be done by just anyone? No, it can't. And it's why the Oscar went to her.
by Anonymous
I think R269 is as big an idiot as R265.
by Anonymous
reply 289
04/08/2015
SHirley McClaine and Meryl Streep both SUCK big time, I don't know which one is worst and more stuck up. Terms of Endearment is probably the worst movie I have ever seen. Yawn. Horrible writing and acting. Was this a James Brooks mess? I agree with whoever said his writing SUCKS.
The Big Chill is another totally idiotic movie, they should market it as a sleep aide.
by Anonymous
reply 290
04/08/2015
"I think Halle Berry is excellent in Monster's Ball. All the J. Law haters? She was fucking terrific in SLP, a performance as funny and touching as that can be done by just anyone? No, it can't. And it's why the Oscar went to her."
Halle Berry is dreadful in "Monster's Ball." The sex scene she does with Billy Bob Thornton is one of the most grotesque in cinema history and when she starts begging him to fuck her ("make me feeeellll ghuuuuud!") her acting is so bad that it's laughable.
"J-Law" won the Oscar because she is (was?) the current Hollywood It girl. She was quite miscast in the role, but she got because she was the It girl. Anyway, Emmanuelle Riva should have won that year for "Amour." Her performance was definitely superior to Jennifer Lawrence's, but she's old and French. They went with the overrated It girl.
by Anonymous
reply 291
04/08/2015
[quote]Halle Berry is dreadful in "Monster's Ball." The sex scene she does with Billy Bob Thornton is one of the most grotesque in cinema history and when she starts begging him to fuck her ("make me feeeellll ghuuuuud!") her acting is so bad that it's laughable.
The scene that made me cringe was when she started hitting her fat song for hiding junk food. The acting was so amaeurish, and the way she was hitting him was so fake, like she went out of her way to not hit him for real lest she hurt the young actor. The whole scene came off phony.
by Anonymous
reply 292
04/08/2015
Ginger Rogers and Jimmy Stewart both won Best Actress/Actor in 1940, Rogers for her uninteresting turn in Kitty Foyle and Stewart for what was for all purposes a supporting role in. The Philadelphia Story. I cannot stand Stewart; he basically played himself in everything.
by Anonymous
Any Oscar that goes to a non-white person.
by Anonymous
reply 299
04/18/2015
Definitely Gwyneth for "Shakespeare In Love". To beat out Meryl Streep's dying mother performance in "One True Thing"? I sometimes shake my head on that one. Actually, Marisa Tomei was very funny and rather charming in "My Cousin Vinny" but not worthy of an Oscar. Susan Sarandon should have won for "Lorenzo's Oil" but was beaten by Emma Thompson's snooze performance for "Howard's End". Instead, she wins for "Dead Man Walking" playing a nun. Then came the she should have won the year or 2 years ago Oscar. Faye Dunaway wins for "Network" (wow a bitchy female network executive)which that year (1976) should have gone to Sissy Spacek for "Carrie". Dunaway should have won for her superb performance in "Chinatown" in 1974 but was beaten by Ellen Burstyn's play it by the book performance for "Alice Doesn't Live Here Anymore". Burstyn should have won the previous year for her great performance as the shocked mother in "The Exorcist" instead loses to that overrated actress Glenda Jackson. The Academy never gets it right.
by Anonymous
reply 300
04/18/2015
For me: Worst Best Actors Rex Harrison (Downright terrible, all other four nominees acted circles around him) Spencer Tracy (Awful in both, great in other films) David Niven (Charming actor for sure, but not one with depth) Yul Brynner (Seriously, Dean, Hudson, Douglas and Olivier deserved it more than him) George Arliss (Forgotten hammy actor gives a hammy performance (one of the bad kind)) Sean Penn (Utterly awful in both) Gary Cooper (His Sergeant York was awful, when his friend is killed by a hand grenade, he doesn't show any anger whatsoever) John Wayne (Deserved nominations for Red River, She Wore A Yellow Ribbon, The Searchers, The Quiet Man and The Shootist, but not for this one)
by Anonymous
reply 301
01/31/2016
Sean Penn in both of his performances, that horrible Italian in that awful comic Holocaust movie, but both will be eclipsed by DiCrappio finally desperately clutching his tin award to his breast in the next few weeks.
by Anonymous
| i don't know |
What name is given to the art of trimming trees and shrubs into ornamental shapes? | What Is the Art of Creating Decorative Shapes by Trimming Trees & Shrubs? | Home Guides | SF Gate
What Is the Art of Creating Decorative Shapes by Trimming Trees & Shrubs?
What Is the Art of Creating Decorative Shapes by Trimming Trees & Shrubs?
Animal shapes add a whimsical flair to a garden.
Trees and shrubs trimmed into decorative shapes create a formal or whimsical atmosphere for your garden, patio or entryway. As expressions of your sense of humor, playfulness or appreciation for order and design, shaped plants add a new dimension to garden art. Known as topiary, the practice of shaping trees and shrubs has a long history dating to the gardens of ancient Rome.
Topiary Plants
Topiary requires high maintenance to stay trim and properly shaped. Slow-growing broad-leaf evergreen perennials with small leaves and a dense growth habit are good choices for topiary. Boxwoods (Buxus spp.) have favor with topiarists for their density and toughness. Growing in neutral to acidic well-drained soil in U.S. Department of Agriculture plant hardiness zones 5 to 8, boxwoods are versatile, thriving in full sun or partial shade. Other suitable broad-leaf evergreens include yaupon (Ilex vomitoria) and ligustrum (Ligustrum japonica), which grow in zones 7 through 10, and Japanese holly (Ilex crenata), which grows in zones 6 through 8. Juniper (Juniperus chinensis) is a scaled evergreen shrub that takes shaping well in its hardiness range of zones 3 to 9.
Shapes
Geometric shapes are used in formal gardens or for container plants as focal points in a grouping or to flank a doorway. Simple forms are squares, rectangles and globes. More intricate designs are tiered with bare-stem sections between geometric shapes -- such as a square at the bottom and a globe at the top of the trunk. Still formal but more stylized, some topiaries are spirals, shaped like tall thin twist cones. Whimsical forms take all shapes, from animals to any design the mind can envision and the plant material can support.
Tools
Make rough-out cuts with long-handled lopping shears to begin your topiary. Refine the shape with hand pruners. Use shears for shapes with flat sides for a smooth, even surface. You can achieve a uniform shape during ball-shape sculpting with a circular wire hoop as a guide. Wire or wooden frames are used for more intricate designs, such as animals, which can take years to complete. Place a frame over a shrub and allow the shrub to grow through the frame. After the plant grows through the frame, the frame provides a trimming guide for the desired shape.
Maintenance
Topiary plants require the same care as unsculpted plants of the same species for fertilization and irrigation. Plants in containers require more frequent irrigation than plants growing in the ground. Use a balanced fertilizer blend according to package instructions. Trim your topiary in late spring or early summer to maintain its shape. Another pruning in late summer or early fall tidies up your topiary before the dormant season. Densely growing plants -- such as boxwood -- need periodic thinning. Remove some branches 6 to 12 inches long during the first pruning of the year. The health of your topiary is improved by thinning cuts as more air and light can penetrate the plant, preventing disease and encouraging healthy growth.
| Shane Carruth |
If dog is canine and pig is porcine, what kind of animal is Cetacean? | Specialty Types of Pruning
Ornamental plants in the home landscape are pruned for many reasons. Some plants are pruned routinely to maintain a desired size or shape. Others are pruned to promote healthy vigorous growth, flowering or fruiting. Sometimes it is necessary to prune shrubs that overgrow their sites, crowd other plants or limit the view from windows. Plants damaged by insects, diseases or freezing injury may require corrective pruning.
Each plant in the landscape has its own growth habit and a different requirement for pruning. Some shrubs have dwarf growth habits and may never require pruning, while vigorous large-growing shrubs may require frequent pruning.
Anyone can prune, but not everyone prunes properly. Improper pruning, or pruning at the wrong time of the year, can result in mis-shapened plants, reduced flowering or plants that are more likely to be damaged by insects, diseases or winter cold.
This publication provides guidelines for proper pruning that may help assure healthy vigorous plants and lasting landscape beauty. First, we’ll discuss the three basic Ts for successful pruning: tools, technique and timing. Then we’ll examine the pruning requirements of specific ornamental plants in the home landscape.
Pruning Tools
Like other products on the market today, pruning tools are available in a wide range of brand names, styles and prices. When purchasing tools, shop for quality and durability before price. Look for tool manufacturers that provide replacement parts on request and offer warranties against faulty materials or workmanship.
Figure 1. Pruning tools.
Most pruning tasks in the home landscape can be done using hand pruners, lopping shears, pruning saws, pole pruners or hedge shears (Figure 1).
There are two basic types of hand pruners: (1) scissor-action or draw-cut pruners and (2) anvil action or snapcut pruners. The scissor-action pruner has a sharpened blade that cuts by gliding against a thicker sharp blade. The anvil-action pruner has a sharp blade that cuts against a broad, flattened, grooved blade. Scissor-action pruners usually cost more than anvil-action pruners and generally make closer, smoother cuts. Anvil-action pruners can make larger cuts easier than scissor-action pruners. Hand pruners cut small twigs and branches up to a half inch in diameter. For larger branches, a half inch to 1.5 inches in diameter, lopping shears are best.
Lopping shears, sometimes called loppers, are like scissor-action hand pruners except they have larger blades and long handles that increase leverage. When using loppers, cut in one smooth stroke to avoid injuring the branch.
Figure 2. Pruner with ratchet action.
Loppers and hand pruners with ratchet action are helpful to people who have arthritis or lack strength in their hands. These tools have built-in ratchets that increase leverage and allow you to prune while exerting minimum hand strength (Figure 2).
Use a pruning saw for branches larger than 1.5 inches in diameter. A pruning saw has a narrower blade (for easier maneuvering) and coarser points or teeth than a common carpentry saw. Most pruning saws also have curved blades that cut on the draw stroke (pulling the blade toward you). Handle shapes vary among pruning saws and are a matter of personal preference. One type of pruning saw, the folding saw, is available for safety-conscious individuals. The bow saw, another type of pruning saw, makes large cuts but may be awkward to maneuver in tight areas.
Pole pruners remove branches from trees that cannot be reached from the ground. Most pole pruners have both a cutting blade and a saw. The cutting blade is operated from the ground by a long rope or lanyard that is pulled downward. The pole can be made from aluminum, fiberglass or plastic. Some poles fit together in three 6-foot-long sections, while newer models have a telescoping type of extension. Due to the risk of electrocution, avoid using aluminum handled pole pruners near power lines.
Use hedge shears (manual, gasoline-powered, electric) to shear or clip hedges or other plants only when you want a neatly trimmed appearance. Do not cut large branches with hedge shears.
To keep all pruning tools in good shape, sharpen and oil their blades at the end of each season. When sharpening loppers, hedge shears and scissor-action hand shears, sharpen only the outside surfaces of the blades so the inside surfaces remain flat and slide smoothly against one another. It is best to have pruning saws sharpened by a professional. Oil blades by wiping them with a cloth saturated in household oil, and treat wooden handles with linseed oil.
Pruning Technique
Figure 3. Pruning Cut
To understand why one pruning technique is preferred over another for a particular plant, and why cuts are made the way they are, it helps to review a basic botanical principle of pruning. The terminal bud (the bud at the end of a branch or twig) produces a hormone called auxin that directs the growth of lateral buds (buds along the side of the branch or twig). As long as the terminal bud is intact, auxin suppresses the growth of lateral buds and shoots below the terminal. When you remove the terminal bud by pruning, lateral buds and shoots below the pruning cut grow vigorously. The most vigorous new growth always occurs within 6 to 8 inches of the pruning cut (Figure 3).
Shearing vs. Thinning
When shrubs are sheared routinely, a lot of dense, thick, new growth is produced near the outer portions of the canopy. As a result, less light reaches the interior portions of the plant, foliage within the canopy becomes sparse and the plant appears stemmy or hollow.
Figure 4. Thinning is better than shearing.
Thinning (cutting selected branches back to a lateral branch, a lateral bud or the main trunk), is usually preferred over shearing. Thinning encourages new growth within interior portions of a shrub, reduces size and gives a fuller, more attractive plant (Figure 4).
Making the Cut
A second botanical principle helps explain what happens when you make a pruning cut. When you cut a branch back to the main trunk, to a lateral branch or to a lateral bud, a higher concentration of hormones in these areas causes the wound to heal rapidly. When you leave a stub, the distance from the hormonal source increases and the wound heals slower if it heals at all. Insects and diseases may enter the cut portion of a stub and cause it to die back.
Figure 5. Always cut back to a bud (a), a lateral branch (b) or main trunk (c), and avoid leaving a stub.
Therefore, regardless of whether you are pruning a small twig or a large branch, you can avoid leaving a stub by always cutting back to a bud, a lateral branch or the main trunk (Figure 5).
Figure 6. To remove heavy branches without damaging the tree, a three-cut sequence is recommended. Cut to the branch collar (swollen area where the branch joins the main trunk) and avoid leaving a stub.
When you remove large limbs from trees, the bark along the main trunk may strip or tear due to the weight of the falling limb. Avoid damaging the bark by making a “jump cut,” which consists of three separate cuts. First, cut about one-fourth to one-half way through the lower side of the limb about a foot from the main trunk. Then make a second cut on top of the limb a few inches away from the first cut. Remove the remaining stub by cutting it back to the branch collar (Figure 6).
Research shows that wound dressing compounds do not promote healing or protect a wound from decay, regardless of the size of the cut. Aesthetically, wound dressings may have some merit, but if you prune properly, the wound heals rapidly and you do not need a wound dressing.
Shaping Tree-Form Shrubs
Common landscape shrubs can be shaped into tree forms (shrubs shaped like a tree with one or more main trunks). Plants such a crape myrtle, yaupon holly, wax myrtle and wax-leaf ligustrum are commonly pruned to tree forms. The best time to begin a tree form is early March before spring growth begins.
Figure 7. Multiple trunk tree-form crape myrtle shaped from a shrub.
It is easiest to start a tree form from a one-year-old plant, but you can also use older, mature plants. Select one to three of the most vigorous growing branches (depending on the number of main trunks desired) and prune all other branches to ground level (Figure 7). Remove lateral branches that are fewer than 4 feet off the ground along the main trunk and thin the canopy by getting rid of inward growing branches or branches that cross one another. Avoid shearing unless you want a high-maintenance topiary.
You can get a multiple-trunk tree-form from a single trunk by pruning back to ground level, selecting three to five of the most vigorous new shoots during the growing season to serve as main trunks and removing all others.
You can easily remove undesirable shoots by hand while they are young and succulent.
It may take three to five years to shape a tree-form plant, but the interest and accent it lends to the landscape may be worth the extra effort.
Pruning Overgrown Shrubs
Some homeowners make the mistake of planting large-growing shrubs along the foundation of the home, which eventually overgrow the site, crowd other plants, hide windows and draw attention away from the home. When this occurs, you may need to prune severely (called renewal pruning) to bring the plants within bounds.
Renewal pruning means cutting the plants back 6 to 12 inches above ground level (Figure 8). In this instance, timing is more important than technique.
Figure 8. Renewal pruning.
Figure 9. Regrowth can be quite rapid after renewal pruning.
The best time to prune severely is when spring growth begins — mid-March in north Georgia and mid-February in south Georgia. Pruning in late fall or mid-winter may encourage new growth that can be injured by cold. Renewal pruning should result in abundant new growth by mid-summer (Figure 9). Once the new shoots are 6 to 12 inches long, prune the tips to encourage lateral branching and a more compact shrub.
Most broadleaf shrubs (such as azaleas, camellias, ligustrum, abelia, nandina, cleyera and crape myrtle) respond well to renewal pruning. Boxwoods, however, recover slowly and may even die when severely pruned. Junipers, pines, cypress, cedar, arborvitae and other narrow-leaf evergreens do not respond well when pruned severely and may die when over half of their foliage is removed. Transplanting instead of pruning narrow-leaf evergreens when they overgrow a site is a possibility.
Skirting, lifting the canopy by removing low-growing branches and shaping a tree form, is an alternative to renewal pruning. A tree form may adapt well to the landscape scheme and will appear less harsh than a severely pruned shrub.
Pruning Time
Because flowering ornamentals form their flower buds at different times of year, pruning times must be adjusted accordingly. Many spring-flowering plants such as azalea, dogwood, forsythia, redbud and rhododendron set flower buds in the fall, so pruning during the fall or winter months eliminates or decreases their spring flower display. Plants that typically flower during the summer form flower buds on new growth and can be pruned during the winter with no effect on their flowering. Examples of this type of plant are crape myrtle and abelia.
As a general rule, plants that flower before May should be pruned after they bloom, while those that flower after May are considered summer-flowering and can be pruned just prior to spring growth. One exception to this rule is the oakleaf hydrangea, a summer-flowering shrub that forms flower buds the previous season. Another exception is late-flowering azalea cultivars, which bloom during May, June or even July. Prune both the oakleaf hydrangea and the azalea cultivars after they bloom.
Suggested Pruning Time for Common Flowering Trees, Shrubs and Vines
Prune After Flowering
Anthony Waterer Spirea
Sweetshrub
Ornamental plants that are not grown for their showy flowers can be pruned during the late winter, spring or summer months. Avoid pruning during the fall or early winter because it may encourage tender new growth that is not sufficiently hardened to resist the winter cold.
Some shade and flowering trees tend to bleed or excrete large amounts of sap from pruning wounds. Among these trees are maple, birch, dogwood, beech, elm, willow, flowering plum and flowering cherry. Sap excreted from the tree is not harmful, but it is unsightly. To minimize bleeding, prune these trees after the leaves have matured. Leaves use plant sap when they expand, and the tree excretes less sap from the wound.
Guidelines for Pruning Specific Plant Groups
Deciduous Shade and Flowering Trees
Trees are like children; training at an early age will influence how they develop. Many homeowners are reluctant to prune a young tree, particularly when it is nothing more than a single stem or a few scrawny branches, but this is precisely when pruning should begin.
Ideally, deciduous shade trees (those that lose their leaves during the winter) and flowering trees should have one central trunk (leader) and five to eight strong lateral branches along the main trunk. Major limbs should begin about 5 feet above the ground and have good spacing around the main trunk.
Once the framework (trunk and main branches) of the tree is established, some annual maintenance pruning will be required. Each tree is different in its growth habit, vigor and pruning requirements, but there are some general considerations that may help direct your pruning decisions:
A major limb growing at a narrow angle to the main trunk (less than a 45-degree angle) is likely to develop a weak crotch and may split during heavy winds and ice loads. Remove branches that have narrow crotch angles.
Figure 10. Remove suckers originating from below-ground roots (a), low-growing branches that interfere with maintenance (b), upright growing shoots or watersprouts (c), branches that grow inward or rub other branches (d), and branches that compete with the central leader for dominance (e).
Remove branches that grow inward or threaten to rub against nearby branches (Figure 10).
Remove branches that grow downward from the main limbs which may interfere with mowing and other maintenance practices.
Prune branches damaged by insects, diseases, winter cold or storms below the damaged area. Prune branches of pear, pyracantha or loquat damaged by fireblight disease several inches below the infection. To prevent spreading the disease, sterilize pruning tools between cuts by dipping the blades in rubbing alcohol or a solution prepared from one part house-hold bleach to 10 parts water.
Trees such as Bradford pear, ornamental cherry, crabapple and ornamental plum form vigorous shoots (or suckers) at the base of the trunk and many upright succulent shoots (or watersprouts) along the main branches. These shoots starve the tree of valuable nutrients and detract from the tree’s overall appearance. Remove them while they are young.
Some trees develop upright shoots that compete with the main trunk for dominance. Remove these shoots if you want to maintain a conical or pyramidal growth habit.
Broadleaf Evergreen Trees
Broadleaf evergreens, like magnolias and hollies, usually require little or no pruning. In fact, most develop a naturally symmetric growth habit when left alone. Low-sweeping branches at ground level lend a natural southern charm to our landscapes.
You may want to prune some during the early life of the tree to balance the growth or to eliminate multiple trunks and/or multiple leader branches. Otherwise, routine annual pruning is not recommended.
Shrubs (Deciduous and Broadleaf Evergreen)
Some shrubs in the landscape have an inherent dwarf growth habit and require little or no pruning. Japanese boxwood, dwarf yaupon holly, helleri holly, rotunda holly and gumpo azaleas are a few examples. These shrubs can be sheared, but routine shearing will encourage a dense outer canopy and sparse foliage on the inside. Do not shear too many shrubs into uniform shapes — the landscape may appear monotonous and unnatural. If you must prune dwarf shrubs, thin their growth instead of shearing it.
Pruning requirements of larger shrubs depend on a number of factors including age, growth habit, vigor, flowering time and location in the landscape. Begin pruning with the shrub is young to encourage vigorous, compact growth. Occasional thinning cuts control shrub size and decrease the need for severe pruning.
Prune azaleas after they bloom. Because azaleas set their flower buds for the following season during mid to late summer, prune them after they bloom. Light pruning after bloom encourages branching and increases the number of flower buds the following year. Pruning after mid-July reduces spring flower display.
Use hand pruners to cut back shoots that are dying from disease or winter cold or that have become leggy. Always cut dying shoots back to healthy green wood to prevent further dieback. Once new shoots are 6 to 8 inches long, they can be pinched or “tip pruned” to encourage branching, compact growth and more blooms. A young, vigorous azalea may require light pruning several times during the growing season to develop a dense, compact growth habit.
Certain types of azaleas, such as the southern indica cultivars common to southern Georgia, grow vigorously and sometimes overgrow their planting site. You can severely prune them just prior to the spring growing season, as described in a previous section on pruning overgrown shrubs, to reduce their size. If you need to prune severely, do so before the plant flowers, because the flowering process robs the plant of valuable food needed to boost new growth.
Because azaleas are shallow-rooted plants, a large portion of the root system is destroyed when you transplant them. Therefore, prune the top to eliminate some foliage and to reduce the demand for water and nutrients. Remove one-third to one-half of the canopy unless the plant is overgrown and requires renewal pruning. Plants are more likely to withstand shock if they are transplanted before flowering and just prior to the spring growing season.
Camellia japonica varieties require little pruning. If a plant is misshapen or too large, remove undesirable limbs by cutting them back to a lateral branch or lateral bud inside the canopy. Eliminate suckers that rise from the base of the shrub. Some camellia growers also recommend that you remove small interior foliage that can become a haven for scale insects.
Camellia sasanqua varieties may require considerable pruning. For a more natural appearance, thin branches instead of shearing the plant.
Some camellias bloom during the fall, some during the winter and some during the spring. If pruning is needed, it’s best to prune the fall and winter bloomers in early March and the spring bloomers just after they bloom.
In terms of pruning, crape myrtle is one of the most versatile plants in the landscape. It can be pruned to a tree form by selective thinning or to a shrub by pruning it to within a foot of ground level. It is a summer-flowering shrub, so prune it during late winter or early spring. You can encourage a second flush of bloom during late summer if you remove the seed clusters after the flowers fade and if you thin some of the new growth.
Crape myrtle shaped as a tree form often sends up vigorous shoots or suckers from the base that can easily be removed by hand when they are young and succulent. Some garden centers also sell a sprout-inhibiting compound you can apply to the base of the plant to prevent the growth of suckers.
Prune roses when the buds begin to swell. Buds start swelling about mid-February in southern Georgia and by mid-March in northern Georgia.
Figure 11. Pruning roses.
Prune hybrid tea and grandiflora type roses (those commonly grown for cut flowers) in the following sequence. First, thin out or remove any canes that are dead, diseased or damaged from winter cold. Cut back canes that show dieback symptoms to healthy wood. Next, select three to five of the most healthy, vigorous canes and cut them back to a lateral branch or bud within 15 to 18 inches of ground level. Then, thin out any vigorous shoots that compete with the main canes and remove suckers that grow from the base of the main trunk (Figure 11). Do not prune floribunda types of roses as heavily as hybrid teas and grandiflora types. Select three to five healthy, vigorous canes and prune them to within 18 to 24 inches of ground level.
Prune climbing roses after the first flush of bloom in spring. Prune old canes back to ground level, and leave five or six of the healthiest, most vigorous canes. You can thin excessive growth on the remaining canes to a side branch or bud. New canes may flower abundantly for two or three years before declining. When they decline, replace them with younger, more vigorous shoots.
Nandina and Chinese mahonia (Mahonia fortunei) are pruned differently than most shrubs. They grow like bamboo, sending up numerous shoots from the root. As the plants age, thin out older canes by cutting them back to within 6 to 8 inches of ground level. Old, overgrown plants can be severely pruned to ground level. Because the berries are often used for holiday decorations, prune nandina after the Christmas season.
Pyracantha blooms during the spring from buds formed the previous season. Therefore, it’s best to wait until after blooming to prune this plant so you don’t remove the clusters of berries that provide fall color.
Pyracantha forms a lot of lanky growth, so light periodic pruning during the summer season may be necessary to encourage branching and more compact growth. It can also be trained to grow against a wall (called an espalier), but you will need to prune frequently to maintain its shape. Old, overgrown plants can tolerate severe pruning, but expect the berry crop to be light for at least two seasons.
Conifers (Needle Evergreens)
Most upright-growing plants in this group, such as spruce, pine, cedar and fir, have branches spaced evenly around the main trunk. They develop symmetrical growth habits and become quite large at maturity. If planted in open areas and given plenty of room to grow, they require little or no pruning.
Figure 12. Pruning Conifers. You can temporarily control the size of conifers by pruning the young, vigorous growth (candles) during the spring (a) or by pruning back to an inner bud (b). Avoid cutting into older wood.
If you remove about half of the new shoots while new growth is in the candle stage (small immature needles packed around the stem resembling a candle), you can thicken the growth of pines and spruce. Avoid cutting back into the hardened older wood, because new shoots will not grow and the form of the plant will be destroyed (Figure 12).
Upright and broad-spreading junipers, such as Torulosa, Pfitzer, Hetzi and Parsoni, sometimes over-grow their sites and must be reduced in size. You can make thinning cuts within the canopy to reduce plant size without destroying the natural shape. You can also shear, but shearing is recommended only when you desire formal shapes.
Like pines and spruces, junipers do not generate new growth from old wood, so never severely prune more than half of the foliage. You can reduce the length of individual branches by cutting them back to a lateral branch. This technique maintains a natural appearance while it decreases the size of the shrub.
Vines/Ground Covers
Certain vines in the landscape, such as honey-suckle, English ivy, clematis, wintercreeper euonymus and trumpetcreeper, climb trees or other supports and can grow rampant if they are not controlled. The amount of pruning these plants need each year depends on their vigor, growth habit and spread. Vines trained to an arbor may require only minor thinning or tip pruning to encourage branching, while those growing in trees or competing with other plants may need more severe pruning to control their size.
Pruning time is important for flowering vines. Prune summer-blooming vines, such as star jasmine and trumpetcreeper, before new growth begins. Prune spring-blooming vines, like wisteria, Japanese honeysuckle, winter jasmine and periwinkle, after they flower. (See above for times for other vines).
Ground covers are pruned primarily for three reasons: To thin their canopy when they grow thick and dense, to keep them within bounds, and to rejuvenate their growth after a harsh winter has damaged their foliage.
Horizontal junipers, like Blue Rug, Bar Harbor and Prince of Wales, tend to form new foliage on top of older foliage and become thick and dense once their canopies meet. Thinning cuts improve air circulation within the canopy and prevent insect and disease problems.
Prune ground covers, such as English ivy, pachysandra, Algerian ivy, Japanese honeysuckle, St. John’s wort, liriope and mondo grass, to rejuvenate them after a harsh winter has damaged their foliage. You can mow off the foliage of these ground covers with a lawnmower set at the highest possible cutting height. Be sure not to injure the crown or main trunk of the plant when you mow. Prune ground covers before spring growth begins — late January in south Georgia and by mid-February in north Georgia.
Hedges
Because hedges are used primarily as privacy screens, begin pruning early to encourage a compact growth habit. Head back newly planted hedge plants to within 12 inches of ground level, and prune new shoot tips during the growing season to encourage branching. To develop a dense, compact hedge that provides privacy, prune regularly while the plants mature.
Figure 13. Hedge Pruning. Tapering toward the bottom reduces light penetration and causes leaves to thin near the base (a), while tapering toward the top (b) allows sunlight to reach the lower canopy and prevents a "see-through" hedge.
Once a hedge reaches the height you want, you must decide whether you want an informal or formal pruning style. An informal style is best if you want a low-maintenance landscape. Informally pruned hedges assume a natural growth habit. Prune only “as needed” to remove dead or diseased wood, to thin branches or to tip prune selected branches where more dense compact growth is needed.
Formally pruned hedges, on the other hand, require frequent shearing, sometimes three to five times during the growing season, to maintain their shape. If a formally pruned hedge best fits your style of landscaping, prune in a pyramidal shape with the narrowest part of the hedge at the top tapering to a wider base. A pyramidal shape allows adequate light to reach the lower portion of the canopy. As a result, the foliage will remain dense all the way to the ground (Figure 13).
Specialty Types of Pruning
Espalier
Espalier (pronounced “es-PAL-er”) is a French term used to describe a plant trained to grow along a flat plane, such as a wall or fence. The Romans originated the pruning technique and the Europeans refined it into an art form still popular today. In England, fruit trees are often espaliered along walls to save space. A wall with southern exposure helps protect the espaliered fruit from cold injury.
In the typical American landscape, espaliers are often used to add interest to a bare wall. Other times they accent a trellis or fence or add accent in confined areas where spreading trees and shrubs are not practical.
Almost any plant can be espaliered. Look for plants having flexible branches, good pest tolerance and attractive foliage, flowers or fruit. The type of pattern you want to achieve, formal or informal, will influence your choice of plants. A slow-growing espalier may be best if you do not like to clip and prune regularly. Pyracantha is the most commonly espaliered ornamental plant. Others include Bradford pear, southern magnolia, foster holly, ligustrum, crape myrtle, loquat, creeping fig and wisteria.
Figure 14. Some common formal espalier patterns are Tiered or Horizontal T (a), Palmette Verrier (b), Belgian Fence (c), and Oblique Palmette (d).
Formal espaliers can be simple or quite complex. Figure 14 shows some common espalier patterns. Informal patterns are free-form and require less care than formal patterns. An informal espalier may be simply a vine climbing along a wall. Informal espaliers usually require no structural support.
Framework for formal espaliers is the form on which the espalier is trained to grow. It may be constructed from rot-resistant wood such as cypress, cedar or redwood, or from wire or nylon cord. Avoid cotton rope because it decays rapidly. When attaching the framework to a wooden wall, use blocks of wood as spacers to keep the framework 6 to 8 inches from the wall. This will provide good air circulation around the plant and prevent the plants from staining the wall.
Attach the framework to a masonry wall with special anchoring devices. Your local hardware supplier should carry masonry staples or concrete nails for this purpose. Lead expansion shields or plastic rawl plugs can be placed in the mortared joints between bricks.
Some garden centers sell vine ties (small plastic discs with twist-ties embedded in them for holding branches) that attach to masonry or wooden walls. They are not as permanent and as strong as framework anchored into the wall, however.
Formal espaliers require regular pruning and training to maintain their shape. Prune branches that grow outward away from the intended pattern. Tie branches to the support to keep them in place. Be careful to prune flowering ornamentals according to the proper line.
Topiary
Topiary is another form of plant sculpture that originated with the Romans and became popular in European formal gardens. A topiary is a plant that has been pruned to an unnatural form, such as a geometric shape or a whimsical animal. Some topiaries, called “stuffed” or “mock” topiaries, are vines trained to grow on the outside of wire frames. Other topiaries, such as the life-like characters you see at Walt Disney amusement parks, are plants trained to grow within a wire frame.
Plants often shaped into topiaries are boxwood, Japanese holly, yaupon holly, ligustrum, arborvitae, juniper, yew and podocarpus.
Topiaries, like formal espaliers, require frequent pruning to maintain their shape. Their use should be limited in landscapes to areas where a focal point, accent plant or conversation piece are desired.
Status and Revision History
Published on Jun 16, 2006
Re-published on Feb 26, 2009
Reviewed on Feb 16, 2012
Reviewed on Feb 20, 2015
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March 11, 1958 was the birthday of statutory rapist Joey Buttafuoco, who achieved his fame when what underage mistress, known as the Long Island Lolita, shot his wife? | Blog - Criminal Justice Degrees Guide
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10 Most Corrupt Movie Cops
Most police officers take on the job because they want to serve and protect their communities. But there’s a lot of responsibility and power that comes with carrying a badge and gun. And sometimes, good cops turn bad. Very, very bad, especially in the movies. Spoiler alert: If you haven’t seen these films, we’re going to be revealing some key plots twists and endings for some of them, so read at your own risk. We just hope none of these films were based on true stories.
Dennis Peck, Internal Affairs
You may have trouble picturing Richard Gere as anything but Julia Roberts’ movie soul mate, but he also knows how to play a cop-gone-bad. Gere’s character Dennis Peck, a patrolman with some questionable morals, is a guy you never want to run across, whether he’s on duty or off. At first, you think he’s just a little crooked when it comes to protecting his fellow officers , but it’s worse than that. He sleeps with the wives of his associates, arranges a hit on his partner, and tries to manipulate the internal affairs officers who are investigating him. He’s cold, ruthless, and hiding behind a badge.
Hank Quinlan, Touch of Evil
Orson Welles not only wrote and directed this classic 1958 film noir; he also starred as the terrible police captain, Hank Quinlan. The captain has been planting evidence for years so that he’ll get more convictions in his cases. That’s not so bad, right? Well, when a drug enforcement officer , Miguel Vargas, is onto him, Quinlan becomes much worse, having Vargas’ wife kidnapped and framed for murder, and then trying to get Vargas himself arrested for a murder Quinlan committed. Does it help that Quinlan had planted evidence on a guilty person?
Detective Trupo, American Gangster
This character, played by a mustachioed Josh Brolin, kills a guy’s dog. That’s basically all you need to know to understand that he’s a seriously dirty cop. Since American Gangster is based on the true story of gangster Frank Lucas, Trupo is based on a real person Lucas referred to as Babyface, though it’s unclear how many of the details were made up for the movie. Trupo bullies and intimidates in order to get a cut of Lucas’ drug money, and runs his district like a criminal boss, even threatening fellow policemen . In the end, he proves himself corrupt and cowardly, killing himself to avoid prosecution.
Lucien Cordier, Coup de Torchon
Leave it to the French to show us a movie “policier” unlike any other. Lucien Cordier is an officer in a French West African village and is basically trampled on by everyone in his life, including the local criminals and his own wife. You can probably see where this is headed. Cordier snaps and uses his power for evil, slowly but surely killing all those who had humiliated him throughout his career by his own hand and by manipulating others. Whether it’s out of revenge or the desire to cleanse his village of terrible human beings, you’ll agree that he’s not your ideal police officer.
Colin Sullivan, The Departed
In this film about two informants (a police informant and a mob informant), Colin Sullivan ends up on the corrupt side of the battle. Sullivan is trained by a mob boss to become a mole in the police department and is then tasked with finding the rat in the boss’ crew, an undercover cop in the mafia. Sullivan feeds information to the very guy he’s supposed to be working against as a cop, and ends up getting lots of police officers killed, as well as killing some himself. If you didn’t understand how corrupt he was throughout the whole movie, though, the obvious-metaphor rat in the very last scene should’ve given it away.
Samuel Norton, Shawshank Redemption
OK, you caught us. Warden Samuel Norton isn’t quite a police officer; he’s in charge of a prison in Maine. But he’s too corrupt and the movie’s too good to leave off of the list. Norton uses Andy Dufresne, a former banker and now prisoner, to launder kickbacks he’s receiving for taking advantage of the prisoners. To keep Dufresne from quitting the immoral practice, Norton has the guy killed that Dufresne was mentoring and who had information that could set Dufresne free. Of course, there are always repercussions for trusting a smart prisoner too much, and Norton finds that out the hard way.
Alonzo Harris, Training Day
When rookie cop Jake Hoyt rides with veteran police officer Alonzo Harris for a day, he probably didn’t expect to do drugs, shoot a former cop, and end up having Harris try to get a crowd to kill him. Just another day on the job, right? Harris is absolutely the last person you hope is working to protect you, since most of his time seems to be spent stealing drug money, letting gang members work out their own problems, and trying to get enough cash to pay off the Russian mob. A smarter corrupt cop would’ve known not to mess with the Russians to begin with.
Louis Renault, Casablanca
With antics and one-liners that are more entertaining than disturbing, Captain Louis Renault is looking out for No. 1 during a time when it seems that’s the only way to survive. This classic World War II-era film encapsulates the corruption of the time, especially in places that acted as a sort of limbo between occupied Europe and America. Renault spent his time gambling (even when he used gambling as an excuse to close down a club), sucking up to important Nazi officials, and making women sleep with him in exchange for the papers to leave the country. And yet, strangely, you can’t help but like him.
Norman Stansfield, Leon the Professional
If you haven’t seen this film, you should if only to see a bad-ass 12-year-old Natalie Portman. She plays Mathilda, a girl whose whole family has been murdered by corrupt DEA agents headed up by Norman “Stan” Stansfield. Mathilda’s father had been keeping cocaine for the agents, but they found out he’d been keeping some for himself, and Stansfield, who’s addicted to drugs himself, decided to take out the whole family. Mathilda was out shopping when the murders happened, so now Stansfield wants to find her and kill her. She’s not totally helpless since she finds a father figure in the hitman down the hall, but it’s still not very nice of this officer to be trying to gun down a little girl.
Dudley Smith, L.A. Confidential
You may want to think of James Cromwell as the sweet farmer who gave a pig a chance in Babe, but he shows another side of himself in L.A. Confidential. He basically controls the organized crime in L.A., blackmails city officials to get his way, and murders (or has someone else murder) everyone that gets in the way of his quest for drugs and power. It’s hard to even keep track of all the people he kills during the movie and before it even starts. This may have just been the unedited Babe sequel, Babe: Pig in the City.
History’s 9 Most Notorious Pardons
Being president comes with some really great perks. You don’t have to worry about paying rent, you never have to wait in the security line at the airport, and you get to let people off the hook for crimes they’ve committed. Many of these pardons granted by the president, or rulers of other countries, go largely unnoticed by the public, but some have captured our attention. Whether it’s because they righted an injustice or because we think the pardons themselves were an injustice, these nine pardons are some of the most well-known.
Marc Rich
On President Bill Clinton’s last day in office, he made the unpopular decision to grant Marc Rich a pardon. Rich was a commodities trader, and a good one at that. He was able to build his business and fortune, but may have gotten too greedy when he ignored the U.S. embargo on business with Iran. Rich bought crude oil from Iran and Iraq and sold it to U.S. companies. In 1983, he was indicted for illegal trading with Iran and tax evasion, but he was in Switzerland and refused to return, landing him on the FBI’s 10 Most-Wanted Fugitives List. Clinton pardoned him at the beginning of 2001, and many believe the decision stemmed from the amount of money Rich’s ex-wife had donated to the Clinton Library and Democratic Party.
Caspar Weinberger
As Secretary of Defense under President Ronald Reagan, Caspar Weinberger was an important and well-respected man. He even received the Presidential Medal of Freedom and honorary British knighthood in his lifetime. But that didn’t save him from becoming embroiled in the messy Iran-Contra affair. The political scandal involved top officials secretly selling arms to Iran while an embargo was in place, supposedly because they believed it would prompt the release of hostages. Weinberger was indicted on perjury and obstruction of justice charges. President George H.W. Bush pardoned him (and five others) in 1992, before Weinberger’s trial could begin, leading some to believe the president might have something to hide.
Blackbeard
Yes, that Blackbeard. Edward Teach’s pirate name was Blackbeard and he has become something of a legend around the globe, perhaps the most famous pirate in history. British Blackbeard liked to take over and loot ships, especially those with valuable goods, like tobacco, sugar, and gold, and didn’t care if the ship was larger than what most pirates would go after. After hearing of the offer of a royal pardon for any pirates who turned themselves in by a certain date, Blackbeard accepted and settled down in North Carolina, a twist in the story no one expected. Of course, Blackbeard returned to pirating. A warrant was put out for his arrest and he was tricked and killed in 1718.
Vietnam draft dodgers
Opposition to the Vietnam War was fierce and loud, especially by those who were the right age to be drafted. One way young men found to avoid the draft, which is illegal, was to go abroad; about 100,000 Americans left the country in the ’60s and ’70s. Ninety percent of those went to Canada. These men would likely be charged and sent to prison if they returned to the U.S., but in 1977, President Jimmy Carter chose to give a blanket pardon to all draft dodgers.
Gen. Robert E. Lee
The famed Confederate general who lost the Civil War surrendered at Appomattox courthouse in 1865. President Andrew Johnson pardoned Confederate soldiers, but there were several groups of exceptions. These people, such as officers, had to send an application to the president asking to be pardoned. Lee sent his request and signed an Amnesty Oath to become a member of the Union again, and that should’ve been the end of his pardon. But no one ever processed his oath, so while he and everyone else acted as though he’d been pardoned, he wasn’t actually pardoned until 1868 when Johnson granted an unconditional pardon to everyone who participated in the rebellion. Even stranger, Lee wasn’t an official citizen until about 100 years later when a historian found his lost Amnesty Oath and President Gerald R. Ford officially made Lee a U.S. citizen again, though he’d been dead for a century.
Peter Yarrow
If you don’t know the band Peter, Paul and Mary, go check out the songs "Puff the Magic Dragon" and their famous version of "Leaving on a Jet Plane." Peter Yarrow, the Peter in the group, got a little carried away with a 14-year-old (read: underage) groupie and served three months in prison. Apparently President Carter was a fan of his, and Yarrow was given a pardon for the incident. If groupies aren’t fair game to musicians, is there anything left sacred in the world? Yarrow has since apologized for the indecent incident.
Tokyo Rose
Tokyo Rose is the name given by the Allied forces during World War II to female Japanese broadcasters, but has since been used mostly to refer to Iva Toguri. She was an American stuck in Japan when the war broke out and, along with many Japanese women, broadcast Japanese propaganda on the radio to the Allies. She went by the name Orphan Ann on the radio show. When the war ended, she was sent to prison in the U.S. for treason for her actions. Toguri always claimed she had been loyal to her country, refusing to give up her American citizenship and working with American POWs to make her broadcasts ridiculous. In the ’70s, these POWs came forward and supported Toguri’s story. She was pardoned by President Gerald Ford in 1977, perhaps a small victory for Japanese-Americans everywhere who had been mistreated during the war and its aftermath.
Derek Bentley
This pardon came at the end of a controversy that had been bubbling in the U.K. for 45 years. Derek Bentley was a British 16-year-old convicted of the murder of a police officer. His friend, Christopher Craig, also 16, was the one who physically committed the murder in 1952, but Bentley had been party to the murder and was hanged for his involvement. (Strangely, Craig served just 10 years in prison.) The public was very uncomfortable with Bentley’s execution, and his sister led a campaign to receive a posthumous pardon for him. Bentley received a partial royal pardon in 1993 and then a full one in 1998. The case made the British population question the merits of capital punishment and find some flaws in their justice system.
Patty Hearst
On the same day that President Clinton pardoned Marc Rich, he also granted a pardon to Patty Hearst, the heiress to newspaper giant Randolph Hearst. When she was 19, Hearst was kidnapped by a revolutionary group called the Symbionese Liberation Army. She eventually joined their group and performed a bank robbery with them. She was arrested in 1975, about a year and a half after her kidnapping, and sentenced to 35 years for the crime, though she only ended up serving 22 months. Hearst is one of the most well-known cases of Stockholm Syndrome, the psychological experience of having empathy and fondness for your captors. In light of this and all she’d been through, Clinton gave her a pardon.
The 8 Most Notorious Criminals in Hollywood History
Hollywood may be the land of big dreams and promises, but this place definitely sees its fair share of tragedies as well. From crimes of passion to money-motivated crimes, Hollywood criminals have been known to attack for any and all reasons. And we all know that one of the quickest ways to be a show stealer in Hollywood is to do something bad. Here are the eight most notorious criminals in Hollywood history.
Paul Snider
Paul Snider is the man responsible for killing his actress and Playboy model wife, Dorothy Stratten, before turning the gun on himself. The high-profile murder-suicide was a complete shock to Hollywood. The young Stratten had just been named Playboy’s Miss August 1979 and 1980 Playmate of the Year and landed a spot in Bob Fosse’s film Star 80. This increased level of fame caused her husband-manager, Paul Snider, to become increasingly jealous and bitter. On Aug. 14, 1980, Snider brutally shot and killed 20-year-old Stratten in their Los Angeles apartment and then committed suicide.
Amy Fisher
Amy Fisher, also known as the “Long Island Lolita,” was the infamous teenager responsible for nearly killing her then-boyfriend Joey Buttafuoco’s wife, Mary Jo, in 1992. Fisher was 16 years old when she began a relationship with the New York auto body shop owner and it didn’t take long before she wanted to get his wife out of the picture. On the afternoon of the shooting, Fisher had an accomplice drive her to the Buttafuoco’s home so that she could kill Mary Jo. When his wife answered the door, Amy lied and told her that Joey was having an affair with her younger sister. Mary Jo turned away in disbelief and Fisher shot her in the head and fled the scene. Mary Jo miraculously lived through the shooting, but suffered partial paralysis on one side of her face and a loss of hearing in one ear. Fisher was eventually arrested and sentenced to seven years in prison for attempted murder, and Joey served six months for statutory rape.
Paul and Tom Ferguson
Paul and Tom Ferguson were the murderous brothers responsible for killing the famous silent movie star, Ramon Novarro, in 1968. On the night of his murder, Novarro invited the Ferguson brothers over to his house in hopes of having sex with one of the two men. The Fergusons believed that the actor had a large sum of money hidden inside the house, and planned to find it. After the rendezvous between Paul and Ramon was over, the brothers demanded that he give them the money. When Novarro said he didn’t have any money on him, Paul brutally beat him and left him to die. Police were able to trace a call that Tom made on the house phone to his girlfriend in Chicago on the day of the murder. She ratted them out and the brothers were arrested and sentenced to life in prison, but were paroled within seven years of the trial.
OJ Simpson
OJ Simpson is one of the most notorious criminals in Hollywood. Although he was famously acquitted in the high-profile murder of his wife, Nicole Brown Simpson, in 1995, the former professional football player and actor did get arrested and imprisoned for another set of crimes. In 2007, Simpson was arrested after he and a group of armed men robbed a room in a Las Vegas hotel-casino and stole sports memorabilia from a dealer. Simpson was convicted on 12 charges, including armed robbery, conspiracy to commit a crime, assault, and kidnapping and was sentenced to a maximum of 33 years in prison with a possibility of parole in nine years.
Robert Bardo
The tragic murder of 21-year-old My Sister Sam star Rebecca Schaeffer became one of the biggest crime stories in Hollywood history. Robert Bardo, 19, was the crazed fan who took the actress’ life. Bardo was obsessed with Schaeffer and began writing her love letters to get her attention. She wrote him back and the two corresponded through mail for months. On July 18, 1989, Bardo went to Schaeffer’s home after tracking it down from an Arizona detective agency and shot her in the chest and fled the scene. Bardo was ratted out by a family member who informed police that he told her he was going to visit the actress that day. He was arrested and charged with first-degree murder and is serving a life sentence.
Brynn Hartman
The murder of comedian Phil Hartman shook Hollywood to the core. Hartman was shot and killed by his wife, Brynn, who turned the gun on herself hours after the shooting. The tragic murder-suicide was the result of the couple’s marital problems and Brynn’s excessive drug use. Brynn was under the influence of cocaine and alcohol when she returned home the night of the murder and got into an argument with Phil about her addiction. Phil threatened to leave her if she continued to do drugs. Brynn waited for her husband to fall asleep before she shot him three times with a handgun. She immediately confessed to a friend that she killed Phil, but he did not believe her. While police were escorting the couple’s two children out of the house, Brynn locked herself in the bedroom and killed herself.
The Menendez brothers
The Menendez brothers made national headlines for the gruesome murder of their parents, entertainment executive Jose Menendez and his wife Mary “Kitty” Menendez in 1989. Lyle and Erik Menendez carefully plotted the brutal attack on their parents in their Beverly Hills home and even bought movie tickets to use as their alibi if they were suspected of the killing. The brothers’ motive was to kill their strict father and end the agony their mother had endured for years. After the boys viciously gunned down their parents, they dumped their shotguns and called police to report the crime. The Menendez brothers raised a great deal of suspicions when they spent their inheritance on luxury items and started phony businesses. During the investigation , Erik confessed to his psychologists that he and his brother killed their parents and the two were later taken into custody. The brothers were convicted of two counts of first-degree murder and are currently serving a life sentence without parole.
Marvin Gay Sr.
The tragic death of famous singer Marvin Gaye in 1984 was a shocking surprise, specifically because it was his Pentecostal preacher father who killed him. On the day of his death, Marvin Jr. was at his parents’ Los Angeles home and got into a heated argument with his father. The fight turned physical and was temporarily broken up by Marvin Jr.’s mother, but when his father returned to the room they were in, he gunned down his son with the .38 pistol Marvin had given him. Marvin Sr. killed his son and was arrested and convicted of the heinous crime. He was originally charged with murder, but was given a plea bargain for a six-year suspended sentence.
10 Most Surprising People Caught Cheating On Their Taxes
You’ve no doubt all heard the story of Al Capone, the notorious American mob personality that was finally caught because of tax evasion. He coined the audacious statement, "the government can’t collect taxes on illegal money." And whether you’re involved in organized crime or not, there’s nothing surprising about cheating on your taxes. If you’ve ever worked a job that’s mostly tip-based, for example, you’ve probably done it. But you’d better believe that some of the richest and most ethically turned people have been caught red-handed cheating on their taxes. And here they are. Check out these 10 most surprising tax cheats, and be sure to correctly file before April 17th!
Walt Anderson
Convicted of the largest tax evasion in the history of the United States, telecom executive Walt Anderson maintains his innocence on the web and beyond. Hiding more than half a billion dollars in offshore accounts in places like Panama and the Virgin Islands, the most surprising thing about this perpetrator is that he continually and publicly denies that he’s ever done anything wrong. While it’s a bum wrap to catch so much flak for not paying the government what it’s owed, it’s absolutely no surprise that he was caught and convicted, and that he’s been put in jail. As of March 2011, the executive’s tax bill came in at $248,962,929 with interest. Anderson’s continual hubris, even from behind bars, is a gentle reminder to even the most honest of working stiffs that once you’ve been caught in a lie, it’s much more advantageous to your reputation (and, of course, your sanity) to swallow your pride and admit to the wrong. Although he was offered a bit of absolution when the government had to retract $100 million of his fine due to a typographical error in his plea agreement, Anderson’s reputation is still in the toilet. The tax cheat is currently scheduled to be released from prison on Dec. 29, 2012 — just in time for a new fiscal year.
Leona Helmsley
We don’t pay taxes. Only the little people pay taxes.
Prior to her death in 2007, Leona Helmsley had long been called the "Queen of Mean," and it’s no surprise that the sourpuss real estate mogul got caught shirking her tax duties to the government. What’s surprising about her case, however, is that she — as with Walt Anderson — never once showed an ounce of remorse for her deeds, or even a hint that she’d had a much-needed reality check. Although she is clearly American aristocracy, the billionaire tax cheat seemed to completely forget that her royal title was a social status, not a monarchical one. Originally sentenced to almost 20 years in prison, the mogul and meanie only did time for 18 months. Having very few friends, she lived the remainder of her days in a penthouse apartment overlooking Central Park — and left her $5 billion fortune and a trust to her dog. You can watch the entire 1990 Lifetime-style movie of her life, below. Bonus: Suzanne Pleshette!
Billy Zane
No wonder California’s broke — they can’t get their famous residents to pay any of their taxes. And while it’s not surprising that many celebrities are too busy, stupid, or unethical to pay their entire share of the tax pie, one of the most surprising tax cheats ever is Billy Zane. The Titanic and Tombstone actor has upped his acceptance of bit parts and non-headlining roles after the news was released that he owed more than $100,000 to the state of California. Now that’s acting your way out of a hole.
Richard Pryor
Sentenced to 10 days jail time for not paying his taxes in 1974, the comedic genius served the jail time in Los Angeles County. His reason for failure to remit? "You know, I forgot," Pryor said to the judge. Although his jokes and tropes changed American comedy forever, no one can avoid their debt to Uncle Sam.
Rev. Dr. Martin Luther King Jr.
And speaking of people who changed America, there’s no tax cheat more socially influential to the fabric of the country that Dr. Martin Luther King Jr. The veritable American saint put his thumbprint on the world, pioneering the civil rights movement and preaching non-violence throughout his public career, cut short by his assassination in 1968. But even a saint can’t be perfect — in 1960, the good reverend was brought in on two warrants from the state of Alabama for signing fraudulent tax returns in 1956 and 1958. With an all-white jury (in 1960 Alabama, no less), King was acquitted with the help of Brown v. Board of Education litigator William Robert Ming, but the press continued to draw attention to King’s tax woes.
Fun Fact: Though it’s probable that the inspirational leader didn’t actually cheat on his taxes, his lawyer (Ming) was sentenced and jailed in 1970 for tax evasion, even though the litigator had paid all back taxes and fines. Maybe the good old days really weren’t that good, especially for the good guys.
Janice Dickinson
How surprising is it, really, that Janice Dickinson is in trouble with the IRS for the second time in as many years? Originally having liens over $200,000 filed against her for unpaid taxes, this supermodel O.G. now owes $43,000 more, according to reports from January 2012. Can the
former
alcoholic and catwalk strutter turned reality television trainwreck pay off all of her debts by November 2012? Forget the upcoming Presidential election — we’re sure that PerezHilton trolls and VH1 watchers alike will prefer to tune in to this news cycle. And that comes as no surprise, although it really, sadly should.
Pedro Espada
You wish it would come as a shock that a politician illegally re-routed money and ended up getting caught for cheating on his taxes, but you would be sorely mistaken. The former majority leader of the New York state senate was charged in late 2011 with rerouting charitable monies to his family, political cohorts, and friends. His trial is ongoing, and getting major press nationwide, and his son has also been indicted in the crimes. One of his accountants shared an April 15, 2010 e-mail from Espada, that included the line, "just wanted to make sure you filed my extension and I’m not going to jail." Time will tell, Senator. Time will tell.
Lil Wayne
How much more can you get out of your FREE WEEZY shirt, anyway? It’s a bit surprising that one of the world’s most outspoken gangsters wouldn’t just take care of his business so the government would be off of his back. And it will be infinitely more surprising if he’s arrested for tax evasion instead of illegal gun possession. (Maybe he took a lesson from famed mob boss Al Capone?) The IRS branch in Miami, Florida filed a $5.6 million lein against the hardcore rap superstar in early 2011. The star told Interview magazine (founded by Andy Warhol, by the way) in the same year that he intended to make $50 million last year. Not just "generated $50 million," the rapper added, "but actually banked $50 million." In 2010, the IRS filed a lien against Weezy for $1.1 million, allegedly for back taxes owed from 2008-2009. Here’s hoping that the only sirens Weezy will be hearing any time soon are the orgasmic cries from Mrs. Officer.
Wesley Snipes
Owing almost $3 million in back taxes, the Blade actor (best known in cult communities for his drag role in To Wong Foo) was arrested in 2006 with two others for conspiracy to defraud the United States. First claiming that he was a "non-resident alien," the American born actor was acquitted of the original charges (his cohorts were convicted), but still managed to rack up a three year prison sentence for willful failure to file his federal tax returns. He began serving time in December of 2010, and the Supreme Court has refused to hear his appeal.
Nicholas Cage
Nicholas Cage just can’t pull it together these days, can he? The stalwart star of many classics (Raising Arizona, anyone?) and classic flops (Ghost Rider; Ghost Rider 2; Ghost Rider 2 3D) paid off a $14 million dollar debt in 2009. Immediately after paying off his taxes (and beginning his descent into the dregs of Cage-d weirdness) that year, he was served another tax lien from the state of California, this time for $3.8 million. So it’s not just the quality of his work that’s suffering, as you can see. The super strange movie star has his share of surprising problems , on screen and off.
In this episode from season two of the globally popular show, a group of Thai Buddhist monks are shot in their Vegas monastery, ostensibly by a local gang.
The Real Case:
At a West Valley, Ariz., Buddhist temple, six monks (and three others) were massacred execution-style, after being forced to lie on the floor. The 1991 case proved to be a doozy, and a new trial was re-ordered in 2008 due to a probable false confession.
This season one episode’s case was about a runner who was killed by a dog in a park, and whose liver was surgically removed postmortem. The killer was a nutritionist, harvesting organs to treat a blood disorder.
The Real Case:
Richard Chase, (awesomely) nicknamed "The Vampire of Sacramento," killed six people in the capital of California. He also killed animals and drank his victims’ (human or otherwise) blood in order to treat a blood disorder. The blood disorder, by the way, was one that he had completely fabricated. Before becoming a serial killer, he was institutionalized for injecting rabbit’s blood into his veins, and was stopped by police, who found a bucket of cow’s blood in the trunk of his car.
A Thought:
Why didn’t the CSI people just do this exact case? Why the need to change anything? The guy may have been a sadistic necrophiliac cannibal, but he had a super-cool nickname. It’s ripe for TV! Why the fictionalizing, CSI? Also, is anyone else jealous that they didn’t do enough acid in the ’70s to become a serial killer with the words "vampire" and "Sacramento" in their nickname? No? OK, well. Just checking.
Burked
A Vegas casino owner’s young adult son is found dead on the floor of a hotel, and it looks like he’s been the victim of a sad drug overdose. The CSI pros reveal in this season two shocker that he did not overdose, but was murdered by a weird strangling procedure called burking.
The Real Case:
In 1998, a wealthy Las Vegas gambling executive (…they have those?) named Ted Binion was apparently murdered by burking. His girlfriend Sandra Murphy and her (other) boyfriend were convicted of the murders, but both were later acquitted upon appeal.
Overload
Season two’s "Overload" is the first time that CSI creators ordered the ol’ "fibers from the blanket fabric gave you away" trick. A young boy is undergoing a "rebirthing" treatment, and an unlicensed therapist smothers him to death. She claims that he had a seizure and hit his head, but in the end, the truth comes out. Thanks, hour-long crime dramas. Thanks a mint.
The Real Case:
Adopted 10-year-old Candace Newmaker of Colorado was smothered to death during one of these unconventional therapies in 2000. It’s an awfully sad story that received international media attention, and hopefully discouraged future "rebirthing" strategies for dealing with attachment issues. The young girl was wrapped in a flannel sheet, designed to emulate a womb. She was supposed to fight her way out of it, which was supposed to attach her to her (adoptive) mother. The story of the account is absolutely disgusting, tear-inducing, and grisly, but feel free to read it here .
35k O.B.O.
A couple goes out to eat for their anniversary in this season one CSI episode, but they never make it past that. Someone steals their car, slits the woman’s throat, stabs the man, leaving them murdered in the street. Later in the episode, the SUV shows up with a body inside. A bloody handprint is the lynchpin in catching the killer.
The Real Case:
On Mother’s Day in 1995, the Universal CityWalk Murders occurred. Two women were stabbed to death and left at the top of a parking garage in Hollywood, Calif.. The twisted tale revealed the handprint as the key evidential factor.
Double Cross
This one’s fairly dark, and not just because Catholic clergy wear black. This season seven shockfest reveals a nun, murdered and crucified on a cross in a Catholic church. Two of her sister nuns found her, and the priest is the primary suspect. The CSI team reveals bruises that prove she was strangled with rosary beads.
The Real Case:
Father Gerald Robinson of Toledo, Ohio was accused and convicted (twice, and he’s appealing to Ohio’s Supreme Court) of the murder of Sister Margaret Ann Pahl in Toledo Mercy Hospital in 1980. Pahl was strangled and stabbed to death, and one can’t help but wonder if she was read her last rites…
Shooting Stars
UFO cults and mass suicides — what more could a CBS viewer ask for? In this episode of CSI, 11 members of a creepy UFO cult dump a body in a garden, and then off themselves in an abandoned military facility. The CSI team goes on the prowl, looking for the remaining two members of the group.
The Real Case:
In 1997, the Heaven’s Gate cult (also a UFO one) staged a mass suicide. Thirty-nine people were found dead because they believed that an alien space craft was coming to get them on the tail of the comet Hale-Bopp. The story was huge news, but for those of you that missed it, this was not the stuff of legend. Thirty-nine people killed themselves in San Diego because they believed that a UFO was following a comet, and they wanted to make contact. And this is the one that didn’t get made up in a room full of bored Hollywood writers with too much pot to smoke and an American public to impress. Makes it a little easier to understand how people get so swept up with Scientology. And not in a good way.
I Like To Watch
Why is every TV show about rape these days? In this garishly titled episode from 2006, a man pretends to be a fireman in order to gain access to a real estate agent’s apartment. He rapes her, and is later discovered and arrested by the CSI team.
The Real Case:
It’s virtually the same story, just without four well-planned commercial breaks. On Halloween in 2005, a New York City woman was viciously sexually assaulted by journalist and playwright Peter Braunstein, who posed as a fireman to get into her residence. Braunstein was dubbed the "Halloween rapist" and the "fake firefighter." Not as hardcore of a nickname as "The Vampire of Sacramento," but good enough to ridicule a criminal monster. His May 2007 trial lasted a staggering four weeks, and — believe us — it got really weird.
The YouTube Commenter
Are you having a great day? Well, we’ve got the solution for you. YouTube.com is the web’s leading video sharing site, and has become a hugely popular search engine. Comments on the videos are those of an open forum, with very little moderation (especially in the pre-YouTube-by-Google days), and are generally a web junkie’s daily reminder that everyone on the Internet (so, pretty much everyone in the world) is grossly ignorant, contributing to global idiocy in scads, and generally sucks really, really hard. Reading public YouTube comments is guaranteed to kill any hope that you had left for humanity, and has proven itself to be an effective activity for taking that optimism of yours down a notch or two.
The Sock Puppeteer
If you’ve got any concept of ROI, you’re clearly not a Sock Puppeteer. These people can’t actually have paying jobs — they’re entirely too busy ruining everyone’s Internet fun and potentially having an extremely odd personality disorder. The Sock Puppeteer is a curious type of troll who creates several alternate, additional accounts on a commenting forum to flank their original trolling comment or argument with support. The fake accounts are called sock puppets, and they function as an army of affirmation around a certain troll’s spammy or counterproductive posts. A troll may have many sock puppets, creating a fake community of posters that agree with him. It’s all very Being John Malkovich meets Sybil of them, don’t you agree?
The Hate Monger
One of the most nauseating types of Internet trolls is The Hate Monger. This commenter blasts the Internet, and otherwise civil discussion, with hate speech. Be it sexist, racist, homophobic ("GAY!" is an oft-used trolling one-off), or otherwise, the Hate Monger reflects the ignorant dregs of humanity. You’ll see them everywhere, but particularly virulent is their presence on forums that children can easily read and those aimed at politicosocietal discussion. Hate Mongers ignore common courtesy, and often spell most non-off-color remarks with the accuracy of a home-schooled 10-year-old. In lieu of rattling off inflammatory epithets, maybe just watch the video of the late, great Christopher Hitchens on hate speech, below.
The Dead Kid Troll
Prior to the Internet, "troll" garnered images of the Scandinavian mythological creature, a garish monster that lives under bridges and bothers the Billy Goats Gruff. And if you’ve heard of The Dead Kid Trolls, it’s not hard to see why the name fits. Alexis Pilkington was a high school girl that committed suicide in 2010, and she was cyberbullied after her death. Friends and relatives had to see comments like, "[s]he was obviously a stupid depressed — who deserved to kill herself. she got what she wanted. be happy for her death. rejoice in it" posted on public forums, as well as pictures that had been Photoshopped to include a noose. These types of trolls are certainly the worst; they’re extremely unsettling and counter to any healthy grieving process for a lost friend or child. Of the wretched trolls, these are the worst.
The Baiter
A special place in hell could be reserved for The Baiter — this troll has a serious case of superiority, and always an ulterior motive. Whether posting one-off comments or engaging in back-and-forths, The Baiter always wants to bring the discussion back to their wheelhouse. A Political Baiter, for example, will always turn the discussion back to politics — even if the original post is about pandas or the trials of wearing socks with sandals. It could be anything benign, and The Political Baiter will make comments about the "liberal media" or "liberal elite" or "anti-intellectual conservatism" that take the original content to a different (often inappropriate) contextual level. Not that discussion is bad, but The Baiter wants the discussion turned their way, and they’ll often make the hook just pretty enough to eat (read: respond to). Once you’ve bitten off their "in," The Baiter doesn’t quit. And doesn’t quit. And doesn’t quit. And if you still don’t understand what a troll is, this video is probably the best of the bunch:
Spambot Trolls
Spambot Trolls might not even be people, but they crud up comments of otherwise civil discussions, and they do so all over the Internet. They paste text and links into comments that often lead to datamining bugs or dead-ends, and there’s not much rhyme or reason to their names, words, or links. The Spambot Troll is like an automated Baiter; they just waste energy and space, and sometimes provoke a reaction, though it’s hard to imagine that anyone takes their bait.
The IRL Troll
The IRL (that stands for In Real Life to all you AFK people) Troll is the type of person that acts like an Internet bottom-feeder in everyday life. Perhaps it’s someone that spends too much time in front of a glowing screen, or perhaps it’s just someone who burned their mother’s copy of Emily Post. These are the people that you’re not entirely sure should be at every single dinner party that you go to, and it’s getting a little strange that they’re always there. They have a comment for everything, and often a contrarian opinion that’s not well-reasoned enough to be respectful to the people or place hosting them. Often they are loud, and always they are sour. To them, it’s their principles, not commonly accepted guidelines of social interaction that guide their actions and lives. And often they exhibit this behavior online, as well. They dwell in all things off-topic, and they can also function as stalkers or fair-weather "friends." Oftentimes you find yourselves calling mutual acquaintances to discuss the illegitimate insanity of their latest Facebook status. Not always a harasser as much as an annoyance, The IRL Troll should stay off the Internet — and out of your face. And we hear that Arizona is lovely this time of year.
WANDD
With just a few clicks and swipes, the days of worrying about a hidden shiv are over. The Weapons and Non-Permitted Devices Detector, also called the WANDD, is a handheld and operated scanner that makes it easier to detect hidden makeshift weapons that violent inmates often fashion. The product, created by Luna Innovations, Inc., identifies homespun weaponry, regardless of material (metal and non-metal weapons can be spotted with WANDD). The product was tested with success at the Virginia Peninsula Regional Jail in Williamsburg, Va.
PharmaJet
Recently approved by the FDA, PharmaJet is a needle-free injection system, and works well for medicating and immunizing sick inmates. This addition to the prison medical system makes the entire healthcare process safer, for doctors, patients, and those that fear the needle (or what a crazy criminal might do with it).
Cell Phones
Even the inmates can benefit from technology, but they still have to find a way to get it. For inmates, cell phones (which are contraband in most cases) are great tools for organizing and even protesting. In December of 2010, several Georgia state prisons were locked down for more than a few days when inmates used the machines to organize a work-stopping protest against inhumane prison conditions.
Biometrics
Biometrics puts a more intimate spin on the concept of an ID badge. The Corrections Biometric Management System, or CBMS, features technology that detects a person by their retinas, fingerprints, and more. Unlocking cells, cabinets, and storage units, with this leap forward, prison officials will be able to tell exactly who and where their inmates and employees are at all times — and what they’re biologically permitted to access.
RFID Tracking
Radio frequency identification tracking is a great way to keep track of an inmate’s or cell block’s whereabouts. TSI Prism from Black Creek Integrated Systems is a real-time location and tracking tech that was specifically designed for the corrections industry. Saving guards time and energy, RFID tracking will surely change the way that prisons are run and prisoners are tracked.
The Wolfhound
Not so fast, crims. Those cell phones you just used to protest are illegal in prisons, and someone’s going to find and confiscate that contraband. Enter: The Wolfhound. In October 2009, the Berkeley Varitronics Wolfhound detected cell phones (via detecting their calls and text messages) hidden beneath floors and inside walls. The California prison system confiscated more than 4,000 cell phones, and the Wolfhound made prison tech history.
TASER X12 Less Lethal Shotgun
This is the ultimate gun for a prison riot. It’s colored yellow, to indicate that it’s a "less lethal" weapon, and is optimized for use up to 100 feet. After engaging with a target, the gun fires off a painful, 20-second pulse. Bad enough to stun and stop, but usually not enough to kill, the TASER X12 is a seemingly more humane way to play cops and robbers.
Telehealth
Telehealth systems are found in all Texas prisons (of which there are quite a few). This camera-based system, developed to diagnose and deliver health services using telecommunications technology has saved lives and a considerable amount of money for Texas inmates and prisons.
Learn to play the trumpet
Music is integral to daily life in New Orleans, and nearly everyone you meet there plays an instrument. Before New Orleans-born Louis Armstrong, there was the mysterious Buddy Bolden , a trumpet player who, at the turn of the century, introduced the instrument, a military instrument no less, to the world of the dance bands, and set the course for a style of improvised music that would come to be known as "jazz." The trumpet is a harsh mistress, requiring hours of practice before one can play anything sounding remotely musical. But if he puts in the time, Payton just might have his trumpet chops ready for next year’s Mardi Gras.
Start sewing a Mardi Gras Indian costume
Speaking of Mardi Gras, the elaborate, colorful costumes worn by members of New Orleans’ Mardi Gras Indian tribes, some weighing more than 100 pounds, take an entire year to create. The bead work alone demands several hours of sewing by hand. Payton might not be all that handy with a needle and thread, but helping to sew an Indian’s costume would be an opportunity for him to develop that skill and give something back to the community. So long as the traditionally secretive tribes don’t mind welcoming a suspended football coach into their fold.
Read Confederacy of Dunces
Payton should read John Kennedy Toole’s Pulitzer Prize-winning novel Confederacy of Dunces not so much as penance, but because if he hasn’t read it, and come to know the book’s obese, slovenly, flatulent hero Ignatius J. Reilly , then he really has no business coaching a New Orleans football team. Maybe Payton would take some comfort reading about a character as delusional as Reilly who throughout the book remains convinced that "the dunces are all in confederacy against him." Payton could grow a mustache, show up at his next press conference wearing a green hunting cap with ear flaps, scream about how the Goddess Fortuna has "spun him downwards" on her wheel of fortune and see if anyone gets the joke.
Pray
There’s a reason why you see Saints fans in the Superdome dressed up as bishops. Although well known for its hedonism, parties, and parades, the city of New Orleans is deeply spiritual. During the 2010 season, one Catholic bishop at St. Louis Cathedral reportedly told the congregation, "St. Paul reminded us in the second reading that we are part of the body of Christ. Today we are also reminded that we are all part of the Who Dat Nation." St. Louis Cathedral and St. Augustine Catholic Church , a church founded by free people of color who purchased pews so that slaves could participate in services, are just two New Orleans churches where Payton, a good Irish Catholic, could take some time to ruminate over the events of the past few seasons.
Learn to make a roux
We mentioned music, but food, glorious food, is not only integral, but crucial to daily life in New Orleans. There are several nationalities representing in New Orleans’ culinary culture, but Cajun and Creole cooking dominate its award-winning restaurants. Maybe we’re presuming too much, but our guess is that spending some time slaving over a hot stove would do Payton some good, especially if he’s given the task of stirring a combination of flour and oil every 15 seconds over the course of an hour to create a roux for traditional homemade gumbo. Like praying, cooking can be a contemplative experience.
DJ a late-night show on WWOZ
New Orleans radio station WWOZ is one of the few radio stations left in the U.S. that plays, well, music. Traditional jazz, brass band music, and blues are all represented along with Irish folk music, novelty records from the ’50s, and even deep wax and classic soul. But in spite of the fact that New Orleans is well known for its own unique style of hip-hop , WWOZ programming stays away from that genre. To remedy this, why not give Payton a DJ slot from 3 a.m. to 4 a.m. where he plays nothing but classic tracks from the No Limit and Cash Money labels? Up and coming New Orleans rappers can join him in the studio to profess their love for The Saints and promote their latest tracks. We’re surprised no one had already thought of this! Football and hip-hop go together like red beans and rice.
Be on call at New Orleans Habitat Musicians’ Village
Created by New Orleans natives musicians Harry Connick Jr. and Branford Marsalis in collaboration with New Orleans Area Habitat for Humanity , Musicians’ Village provides housing for several generations of musicians who were displaced in the aftermath of Hurricane Katrina. Why not give Payton a toolbox, brushes, and a few cans of paint, and have him be the on-call handyman of Musicians’ Village during the 2012 season? Imagine the look of surprise on a resident’s face when, after requesting help in repairing a roof or repainting the trim on their house, the coach of the New Orleans Saints shows up to take care of the job.
Serve hurricanes at Pat O’Brien’s
When it comes to penance, working as a waiter at French Quarter institution Pat O’Brien’s, serving booze to barely legal college students and disoriented tourists after dark on a Friday or Saturday night more than qualifies. Pat O’Brien’s notorious "specialty drinks" menu was born out of a shortage of grains and sugars during the Second World War, necessitating the use of rum in any alcoholic cocktail you wanted to mix and serve. Payton would be expected to work weekends, 6 p.m. to 4 a.m., with no break, and donate all of his tips to the New Orleans Musicians’ Health Clinic .
Speeding
There are 260 million cars in the United States, and that’s 260 million cars that have, at one time or another, broken a speed limit law. Have you ever been on an American highway? Any motorist driving the paltry speed limit will be honked at and whizzed by, and probably soon banished to the outside lane or frontage road. Even if you’re not a speed demon, everyone’s been in a hurry or had an emergency at one time or another. Additionally, it’s common knowledge that driving a few miles over the posted speed won’t net you a ticket, except in the most stringent of speed limited areas (school zones, for one). And you road warriors commonly break other traffic laws, like running red lights and not using proper turn signals.
Underage Drinking
If your cool uncle ever let you have a beer with him during your high school years, you’ve participated in underage drinking. (And probably gross underage drinking. Your uncle is the last person on the planet who drinks Old Milwaukee, dude.) If you’ve ever gotten sauced enough on Boone’s Farm Strawberry Hill to dance on a table at a sorority party in college (oh, so you’re the one … ), you’ve definitely participated in underage drinking. And if you say that you waited until your 21st birthday to try your first sip of booze, you’re lying — or you’ve probably got a fairly free social calendar this weekend, don’t you? Underage drinking is by no means cool, but it’s an extremely common practice among those of high school and college age. According to SADD (Students Against Destructive Decisions), 26.4% of underage kids use alcohol every month, which puts the population of those imbibing at more than 10 million .
Smoking Weed
If you use marijuana in the United States, you’ve got about 30 million stoner friends. While the substance is classified as a Schedule I narcotic and outlawed on the federal level, many states have decriminalized its use for medical purposes. But those without glaucoma in California still seem to find a way to get blazed: an incredible 52% of all 2010 drug arrests in the United States were marijuana related.
Pirating Music
You’re reading this list on the Internet, are you? Then you’ve probably downloaded something illegally, even if you’re not certain that you have. Pirating music, videos, and software is illegal and, many argue, immoral — as it’s, functionally, the act of stealing. Piracy has taken its toll on its target industries, too; music purchases have decreased worldwide since piracy became a hard-to-enforce illegal norm.
Jaywalking
Maybe you didn’t drink when you were young, and maybe you don’t get stoned now, but every ambulatory American has jaywalked at least once in their lifetime, and probably more than once. Jaywalking is the act of illegally crossing the street at a time or place not then designated for pedestrian crossing, and there’s no one who hasn’t done it. Ever walked across in the middle of the street? Or just gone ahead even though the red hand was lit up because there was absolutely no one coming and you were in a sketchy neighborhood where you were pirating music, smoking weed, and underage drinking? Well then, dear reader, you’re a dirty, rotten lawbreaker.
Littering
Have you ever thrown a cigarette butt or a receipt down on the pavement? That’s littering, and you’ve made an American Indian shed a single tear. How does it feel to make the noble natives of our great land break down and cry, you litterbug? Littering is illegal in the United States, and is often punishable by payment of a fine, which can be extremely hefty in certain areas, such as state parks and preserves. Next time you think about throwing down that gum wrapper, remember that you’re being watched.
Copyright Law
You probably break copyright law every day, and you probably don’t even know when you’re doing it. Copyright laws in the United States are extremely complex and varied, so much so that you can barely be sure whether your mix tape or mashup is legal or not. Additionally, you may be breaking copyright law by using software at work that you didn’t know wasn’t intended for commercial use, or that may have been illegally obtained (unbeknownst to you and your company, no doubt). Luckily for all of those parodies and playlists of the current remix culture, some of these laws aren’t enforced to the letter, and you may be safe to play another day.
Cheating On Your Taxes
Tips? What tips?
Face it: if you work in the service industry, you’re cheating on your taxes. Waitstaff, childcare workers, and the like do a lot of their dealings in cash, which makes it easy to fudge when April 15th rolls around. While most people probably don’t intend to cheat on their taxes, doing so (accidental or otherwise) could net you an audit and possibly jail time. Common methods of cheating on your taxes are: claiming too many dependents (you’re 25 and you have six kids? Really?), false use deductions (do you really have a deductible-friendly, home-based business, or do you call yourself a freelancer as an excuse to play online every evening?), not declaring all income, and not selecting the correct filing status. Lucky for most of us, we don’t mean to break the law — and if we do, and we’re caught, it can usually be cleared up with a small fine.
Gravity
If you’ve got a hoverboard, you 1) live in the future, and 2) are a lawbreaker. And even if you’re not a futuristic hipster (one assumes that hoverboards will be a toy for the cool kids), you probably know that Newton’s law of universal gravitation (F=Gm1m2/d^2) has been superseded (for all intents and purposes, broken) by the more accurate, complex, and beautifully succinct equation, Einstein’s theory of relativity (e=mc^2).
Med student kills masseuse from Craigslist
Boston University medical student, Philip Markoff, also known as the "Craigslist Killer," was charged with murdering a New York City masseuse on April 14, 2009. Markoff found 26-year-old Julissa Brisman on Craigslist and contacted her for her erotic massage services. The two met in a luxury hotel in Boston, where Markoff lured her into a room and shot her to death. Police found Brisman’s underwear and a semiautomatic weapon inside of Markoff’s apartment, as well as ammunition and other materials that matched those used in another kidnapping-armed robbery on a Boston masseuse. Markoff was charged with the armed robbery and murder of Brisman, as well as two other armed robberies. While awaiting trial, Markoff committed suicide in prison.
Ohio Craigslist murders
A bogus Craigslist ad led to the death of one man and the attempted murder of a second man who were seeking work as a caretaker for a ranch in Ohio. Richard Beasley, 52, and Brogan Rafferty, 17, have been charged with murdering and attempting to murder the victims. Rafferty was 16 at the time of the crime, but is being charged as an adult. The date of the trial has yet to be determined, but prosecutors are seeking the death penalty against Beasley.
Teen slays Craigslist nanny
Michael John Anderson, 19, said he wanted to know what it felt like to kill when he brutally murdered 24-year-old Katherine Ann Olson, who responded to a phony ad the teenage boy had posted on Craigslist. In the ad, Anderson pretended to be a married woman named "Amy," who was looking for a nanny. After exchanging e-mails back and forth, Olson agreed to meet for an interview at Anderson’s house, where he shot her in the back and put her body in the trunk of her car. He left the car abandoned in a park five blocks away from his parent’s house. Police found her blood and the gun he used to shoot Olson inside the home. Anderson was arrested and found guilty of first degree murder and was sentenced to life in prison without parole.
Woman killed friend, cut baby from womb
Korena Roberts and Heather Snively had a lot in common; both were young, soon-to-be mothers, or at least that’s what Roberts had told people for months. The 27-year-old met Snively after placing an ad on Craigslist looking for baby clothes. The two women became quick friends, but Roberts never disclosed her secret — she was not actually pregnant. About a week later, Roberts beat Snively with a police baton and used a straight razor to cut open her abdomen and take out the unborn baby to pass it off as her own child. Snively and her infant died. Roberts pleaded guilty to the murders and has been sentenced to life in prison without parole.
Craigslist minister steals couple’s wedding presents
In 2007, a Portland couple hired a minister they found on Craigslist to officiate their marriage and discovered he wasn’t the trustworthy person they thought he was. The couple had been asking for Home Depot gift cards in lieu of gifts or cash to help them fund their kitchen renovation, but was surprised to see that all they had were three gift cards at the end of the wedding. As it turns out, the minister stole the gift cards and surveillance cameras at Home Depot caught him buying tools and detergent with them.
Man rapes maid found on Craigslist
In 2011, a California man was arrested and taken into custody for allegedly raping a housekeeper he found on Craigslist under the "maid" section. When the woman arrived at Michael Delgado’s apartment, he locked the doors and allegedly raped and sexually assaulted her with a foreign object for over an hour. Delgado walked the victim out and she asked a passerby to call police. He was arrested on suspicion of rape, rape with a foreign object, false imprisonment, and assault.
Teen killed, found in burned car
Sarah Weyrick was new to Houston and was in need of some cash to pay her bills. The 19-year-old posted a Craigslist ad in the "personals and casual encounters" section, saying "Need help with a couple of bills — just two bills. Tough times call for drastic measures." Sometime after posting the ad, her body was discovered in a burning car in an apartment complex on June 2, 2010. An autopsy showed that Weyrick had been stabbed multiple times around her neck and was put in the backseat of her car before someone set it ablaze to cover the evidence. One month after the incident, police arrested and charged Phillip E. Boldon, 31, with murdering Weyrick.
Florida Craigslist car scam
Tina Morris fell victim to an unfortunate Craigslist scam when she was shopping online for a car for her daughter. Morris came across a seemingly promising Craigslist ad for a 2007 Honda Accord listed for $2,900. The woman selling the car as part of a divorce claimed to live in Lake City, Fla., but said the vehicle was located in a New Jersey shipping yard. Morris was told that the sale was being handled by an agent from eBay motors, but when the seller asked for an additional $1,000 for insurance, Morris got suspicious and called eBay motors. She found out that it was all a scam and her money was long gone.
| Amy Fisher |
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DISCOURSE AND IDEOLOGY IN NABOKOV’S PROSE “The book will be highly controversial and widely read. I admire its audacity. It may well inaugurate a new era in Nabokov Studies . . . The field needs this book and the arguments it will provoke.” Eric Naiman, University of California, Berkeley “These essays finally quash the naive view that Nabokov’s writings – especially Lolita, Pale Fire and the bewitching short stories – are free ideological zones, neutral and vacant. Students of the Nabokovian text, as well as Russian literature in the twentieth century, will want to consult this anthology before they ponder their next Nabokovian tactic.” George Sebastian Rousseau, Oxford, England The prose writings of Vladimir Nabokov form one of the most intriguing oeuvres of the twentieth century. His novels, which include Despair, Lolita and Pale Fire, have been celebrated for their stylistic artistry, their formal complexity, and their unique treatment of themes of memory, exile, loss, and desire. This collection of essays offers readings of several novels as well as discussions of Nabokov’s exchange of views about literature with Edmund Wilson, and his place in 1960s and contemporary popular culture. The volume brings together a diverse group of Nabokovian readers, of widely divergent scholarly backgrounds, interests, and approaches. Together they shift the focus from the manipulative games of author and text to the restless and sometimes resistant reader, and suggest new ways of enjoying these endlessly fascinating texts. David H. J. Larmour is Professor of Classics and Comparative Literature at Texas Tech University. He co-edited Russian Literature and the Classics (1996) and since 1997 has been one of the editors of the journal INTERTEXTS. CONTRIBUTORS Galya Diment is Professor in the Department of Slavic Languages and Literatures, University of Washington. She is the author of The Autobiographical Novel of Co-consciousness: Goncharov, Woolf and Joyce (Florida 1994) and Pniniad: Vladimir Nabokov and Marc Szeftel (Washington 1997) and edited Between Heaven and Hell: The Myth of Siberia in Russian Culture (with Yuri Slezkine) (St. Martin’s 1993) and Goncharov’s Oblomov: A Critical Companion (Northwestern 1998). She has also written numerous articles, many on Nabokov. She is currently president of the International Vladimir Nabokov Society and coeditor of NABOKV-L, the Nabokov e-mail discussion forum. D. Barton Johnson is Professor Emeritus of Russian at the University of California at Santa Barbara. Twice president of the International Vladimir Nabokov Society, he is the founding editor of the journal Nabokov Studies and NABOKV-L. The Russian translation of his 1985 Worlds in Regression will soon appear as part of a new series of classic Nabokov monographs. David H. J. Larmour is Professor of Classics and Comparative Literature at Texas Tech University. He is the author of Lucian’s Science Fiction Novel: True Histories (Brill 1998) and Stage and Stadium: Drama and Athletics in Ancient Greece (Weidmann 1999), and co-editor of Russian Literature and the Classics (Harwood 1996) and Rethinking Sexuality: Foucault and the Ancient World (Princeton 1998). He has written articles on Lolita, Bend Sinister, The Return of Chorb, and Nabokov’s “Ovidian Metamorphoses.” He is one of the editors of Intertexts, a journal of Comparative Literature and theoretical reflection. Paul Allen Miller is Director of Comparative Literature and Associate Professor of Classics at the University of South Carolina. He is the author of Lyric Texts and Lyric Consciousness (Routledge 1994) and co-editor of Bahktin and Ancient Studies (Arethusa 1993), Rethinking Sexuality: Foucault and the Ancient World (Princeton 1998) as well as vii CONTRIBUTORS of Carnivalizing Difference: Bakhtin and the Other (Routledge 2001). His Latin Erotic Elegy: An Anthology and Reader will be published by Routledge in 2002. Tony Moore is a Lecturer in modern drama, contemporary drama, and twentieth-century American poetry at Boston University. He was educated at the University of London (BA, MA) and Boston University (PhD). He is completing a reappraisal of Robert Lowell and some contemporaries which defines poetic revision as a positive principle of creativity. Before concentrating on academic work, he spent thirty-five years in commerce and was CEO of international food companies based in Britain. Elizabeth Patnoe is an adjunct Professor in the Department of English at Ohio Wesleyan University and an R.N., now practicing as a neuropsychiatric nurse. Her major work-in-progress, Dying for the End: Fiction, Reality, and Female Suicide, explores the relationships between real and fictional suicide. Galina Rylkova is Assistant Professor of Russian Studies at the University of Florida. Her publications include articles on Tolstoy, Nabokov, Pil’niak, Viktor Erofeev and cultural memory of the Russian Silver Age. Suellen Stringer-Hye is a digital librarian at the Jean and Alexander Heard Library, Vanderbilt University. She has written “Nabokov and Popular Culture,” “Nabokov and Melville,” as well as articles on Ada. She is also the creator and compiler of VNCollations, a regular column on NABOKV-L of references to Nabokov from popular online and print sources. Additionally, she edits the CoLOlations web page for the premier Nabokov website, Zembla. She interviewed Stephen Schiff, screenwriter of Adrian Lyne’s film adaptation of Lolita as well as Stacy Schiff, author of the Pulitzer Prize-winning biography of Vera Nabokov, Zembla. Brian D. Walter teaches English and Film Studies at Washington University. His work has previously appeared in Boulevard, Nabokov Studies, and American Studies International. viii ACKNOWLEDGMENTS At the annual meeting of the American Association for the Advancement of Slavic Studies in Honolulu in 1994, I participated in a panel on Nabokov. After the discussion at the end of the presentations, I decided it was time for a conference which would focus on the ideological underpinnings of the Nabokovian text and authorized modes of interpretation. Onthe-spot encouragement came from one of my fellow-panelists, Galya Diment, and from Peter I. Barta, who was then my colleague and Director of Russian Language and Area Studies at Texas Tech University. I am grateful to both of them for their enthusiastic support of this undertaking. In 1995 a conference on Discourse and Ideology in Nabokov’s Prose took place at Texas Tech University. Several of my colleagues in the Department of Classical and Modern Languages and Literatures – Paul Allen Miller, Sharon Nell, Susan Stein, and Lewis Tracy – provided invaluable assistance throughout the event, as did a number of undergraduates studying Russian. In planning the conference, I received helpful advice from Donald Barton Johnson, who continued to give me the benefit of his knowledge in later years as I prepared the papers for publication. To all of these individuals, I would like to express my most sincere gratitude. I thank the editors of the series Studies in Russian and European Literature, Peter I. Barta, now at the University of Surrey, and David Shepherd, at the University of Sheffield, for inviting me to publish Discourse and Ideology in Nabokov’s Prose. Thanks are due also to those who read and evaluated the manuscript along the way: Stephen Hutchings, Eric Naiman, David Rampton, and George Rousseau. Michael Wells helped me compile the index. At Routledge, I have been ably assisted by Liz Thompson. Last but not least, now that this volume is finally emerging, I wish to thank all the contributors for their co-operation and, especially, their patience. It has been a pleasure to work with such a diverse and interesting group of scholars, each with a unique perspective on Nabokov’s oeuvre. ix INTRODUCTION Collusion and collision David H. J. Larmour This volume arises from a conference held at Texas Tech University in 1995 on the topic of “Discourse and Ideology in Vladimir Nabokov’s Prose.” That event was motivated by a belief that the ideological underpinnings of Nabokov’s novels are a suitable area of investigation from a perspective which holds that all such texts both embody and promulgate a certain view of the world and how we organize our understanding of it.1 The theme of the conference was underpinned by two interpretative positions: first, that ideology is a web of discursive effects in the real world of the reader’s lived experience, and second, that these effects are brought about by the operations of power. Discourse and ideology are linked here through the phenomenon of power, but not without an awareness of the complex nature of the interaction between the two terms. The complexity arises in part from the definitional fluidity of each, charted in recent studies by Sara Mills (1997) in the case of discourse and by Terry Eagleton (1991) for ideology. Significantly, both Chapter 2 of Mills’s study and Chapter 7 of Eagleton’s are entitled “Discourse and Ideology,” a conjunction which bears eloquent testimony to the close association between the two terms and the interpretive strategies they have engendered. Nonetheless, such combinations remain problematic. For some practitioners and theorists of discourse analysis, for instance, discourse and discursivelybased criticism are to be differentiated from ideology and ideologicallybased methodologies by styling ideology as essentially a matter of “false consciousness,” that is to say, false ideas which strive to legitimize the interests of a dominant social class or political power structure. Thus, it is possible for Roger Fowler to describe discourse as “speech or writing seen from the point of view of the beliefs, values and categories which it embodies; these beliefs etc. constitute a way of looking at the world, an organization or presentation of experience – ‘ideology’ in the neutral, nonpejorative sense” (Fowler 1990, 54; Hawthorn 1992, 48; emphasis added). Such a definition of discourse relies heavily on several elements that are 1 DAVID H. J. LARMOUR integral to some of the more nuanced understandings of ideology in contemporary theory, but then seeks to distance itself by reducing ideology to the basic Marxist formulation of false consciousness. Mills works within a broadly similar paradigm, as we can see from her discussion of the differences between ideological critics and discourse theorists in their approaches to sexism in language: within an ideological view, sexism would be seen as a form of false consciousness, a way that subjects were, in Althusserian terms, interpellated, that is called upon to recognise themselves as certain types of gendered subjects . . . whilst this is a useful first stage in analysing sexism, one which enables us to recognise the process whereby sexism comes to feel “natural” or dominant within a culture, it does not allow us any real sense of how it would be possible to intervene and change that process. (Mills 1997, 44–45) The key to such intervention and change, she suggests, lies in the recognition, predicated upon Foucault’s rejection of the “repressive hypothesis,” that power is not simply an infringement of the rights of one individual or group by another, but something which is to be held or taken away, fought for or relinquished, struggled against or submitted to. If we conceive of discourse in this Foucauldian mode, the analysis of discursive practices is inevitably an act of contestation because, as Foucault puts it: Discourses are not once and for all subservient to power or raised up against it, any more than silences are. We must make allowances for the complex and unstable process whereby discourse can be both an instrument and an effect of power, but also a hindrance, a stumbling block, a point of resistance and a starting point for an opposing strategy. Discourse transmits and produces power; it reinforces it, but also undermines it and exposes it, renders it fragile and makes it possible to thwart it. (Foucault 1978, 100–101; Mills 1997, 42–45) And yet, it is difficult to insist that ideologically-based criticism cannot be as effectively interventionist or challenging as that which arises from discourse analysis, especially if we consider ideology as a fundamentally discursive phenomenon. This is the point of Eagleton’s proposition that ideology may be viewed “less as a particular set of discourses, than as a particular set of effects within discourses” (Eagleton 1991, 194) and that it “represents the points where power impacts upon certain utterances and inscribes itself tacitly within them” (p. 223). In seeking to analyze discourse and ideology in Nabokov’s prose, then, this volume posits an 2 INTRODUCTION encounter between the reader and a set of ideological structures which are manifest in the discursive utterances and practices in and around the novels and short stories under discussion. The purpose is not to offer an exhaustive examination of Nabokovian Discourse or Nabokovian Ideology – which would, of course, have to be situated within their larger cultural contexts in order to be properly delineated and understood – but rather to suggest some lines of enquiry by which their exclusionary, naturalizing, and manipulative devices may be comprehended. The title, Discourse and Ideology in Nabokov’s Prose draws attention to the system of power relations in which the author, text, and reader are enmeshed, and to its constitution as an arena of negotiation and contestation. It also seeks to shift the emphasis away from author-based criticism to a form of critical practice in which the author is no longer – either explicitly or implicitly – the validator of meaning in the text, but is instead an author-function, a “principle of grouping of discourses, conceived as the unity and origin of their meaning” (Foucault 1981, 58; cf. Barthes 1986). It may be difficult for some to accept, in Barthes’s terms, the death of an author as determinedly present as Nabokov has proved to be, but this would seem to be a necessary first step if as readers we are to liberate ourselves from discursive constraints and the threatened imposition of ideological unities. Nabokovian discourse needs to be understood in this context not only as the aggregate of statements or individualizable groups of statements in the texts arranged around the author-function, but also as the regulated practices that account for a number of statements, both in these texts and in the commentaries written upon them by Nabokovian critics and scholars.2 The call for papers for this conference was an attempt to solicit readings which would discuss and expose the operations of Nabokovian discourse and its ideological resonances, with special reference to gender and sexuality, politics and history, and social and cultural structures. The fact that Nabokov’s novels have generally been treated as works of self-conscious artifice which are somehow ideologically neutral makes the case for such readings even more compelling. For many readers, it is clear that terms like “smokescreen” and “distortion” are just as meaningful as the talismans of traditional Nabokov criticism, “play” and “artifice.” Such reactions are symptomatic of the broader issue of how to map the operations of Nabokovian discourse and, in particular, its representation of men and women, socio-economic classes, nationalities (especially Russian, German, and American), sexualities, and political views (those either congenial or inimical to those of the authorial organizing consciousness). The task necessitates a shift of emphasis from language as signification and play to the scrutiny of the inscription of ideological and discursive strategies in language, in other words from a reading position of collusion with the text to one of collision. 3 DAVID H. J. LARMOUR The Latin verb colludo (cum ludo) means to “play with” and “have a secret understanding with (often to the detriment of a third party),” giving us our English “collude”; the similar sounding verb collido (cum lido) means to “strike against” or “bring into conflict with.”3 Both words have judicial overtones: they are connected with the discovery of truth, who did what to whom, where, when, and why. The Roman rhetorician Quintilian remarks in his Institutes of Oratory that there is often a collision between written testimony (testatio) and that of witnesses actually present (testes): saepe inter se collidi solent inde testatio, hic testes (5.7.32); the former is liable to be perceived as clever manipulation of the facts, while the word of the latter can be questioned on several grounds. In the act of reading, there is a similar encounter, between the text’s testimony about the world and the reader’s own witnessing of experience. We read with a mixture of collusion and collision with the ideology of any text: if the reader were to collude all the time, reading would be a self-satisfying, but presumably unstimulating, way of spending time; if the reader were to collide all the time, reading, for all the enlightenment it might produce, would become an exhausting and ultimately unpleasant activity. Collusion-based and collision-based readings are of course productive of different types of scholarship and interpretation. The dominant discourse of the Nabokovian text clearly invites collusion rather than collision, created as it is by one of the master game-players of our era. There is a widespread interpretative tendency, grounded partly in the author’s own prescriptions about art, life, and literary criticism, to regard Nabokov’s novels as self-reflexive linguistic games, which have only a tangential or nebulous association with the phenomenal world.4 This leads us to chase down allusions, follow up references, and celebrate the jouissance of a supposedly pure artifice. The pleasure afforded by these pursuits has produced a whole troop of Enchanted Hunters, who have demonstrated not only Nabokov’s but also their own considerable learning and detective powers.5 And there is no doubt that the Nabokovian text works very hard to ensure that the reader “plays the game,” guided more often than not by an authorial – and “authorizing” – Introduction. What exactly is a game, however? A game depends on rules and conventions, established by an authority, which the players consent to follow. A game can also be an exercise in dominating or defeating an opponent.6 Nancy Morrow demonstrates that the nineteenth-century realist novel is a genre which emphasizes the games of characters (i.e. plot games) and suppresses two other games: those between the reader and the text and between the narrator and the characters (Morrow 1988, 22). Nabokov, in common with other twentieth-century writers like Borges and Joyce, does not suppress these latter two forms of the game, but actually flaunts them.7 The result of this, however, is not only that the games of the characters are 4 INTRODUCTION correspondingly “played down”; the effect is also to conceal something about the text itself: its ideological assumptions and discursive operations. Thus, when David Rampton distinguishes between criticism which “ranges over” Nabokov’s writing and that which attempts to “pierce” it, he asks the following questions about these texts: “What kind of reality do they depict? What kind of meaning do they posit? What kind of truth do they tell about Nabokov and the world?” (Rampton 1984, Pref. vii). A critical approach which centers upon discourse and ideology will seek to question the unquestionable, and to say the unsayable, by interrogating the naturalization of the discursive structures within which these texts speak and are spoken about. Rather than focussing on words and sentences in isolation, and assuming that these have stable meanings by themselves, it will examine them from a relational perspective, and, in particular, in relation to the larger discursive structures, or framing discourses, within which we interpret these texts. When we talk about ideology and discourse, we are inevitably also talking about the conditions of material existence beyond the text.8 The recognition that literature is a form of social discourse makes it impossible to divorce texts from social forces, institutions and practices, and from the dialectic interactions of history. Moreover, the varieties of language we encounter in literary texts, as in other forms of discourse, both embody and engender different interpretations of the world, a world in which all readers must function.9 Given the intense interest shown by scholars and critics in Nabokov’s linguistic pyrotechnics, his oeuvre is ripe for discourse analysis of the kind described by Roger Fowler, M. K. Halliday and others.10 This might concentrate on the formal and stylistic structure of the Nabokovian text,11 or the ideological structures which are also encoded in its linguistic patterns. The latter offers a particular challenge in the case of Nabokov. If we really want to get to grips with the ideological matrices which uphold the Nabokovian narrative, it is necessary to refuse to “play the game,” at least according to the rules presented to the reader. When the Nabokovian novel makes aggressive claims that it is fictional not factual, it is just as aggressively seeking to veil its connections with the real world. For some readers in particular, this veil is all too transparent. If we assert the right of the reader to object to, and engage with, the ideological discourse of texts which seek to marginalize or trivialize her or his experiences and anxieties, we should also examine, or at least speculate upon, the concretization of, say, Mary or King, Queen, Knave by women readers; of Lolita by victims of childhood or spousal abuse; of Pale Fire by gay and lesbian readers; and of Bend Sinister by political and social dissidents in various eras and systems. We might term such readings oppositional, in that they often collide rather than collude with the dominant belief-system the texts purport to uphold. But this collision is productive rather than destructive. It can open up new dimensions of polyphony and 5 DAVID H. J. LARMOUR reveal inner tensions and contradictions which not only promote multifarious readings, but also expand our understanding of the dialectical relationship between communication and society. Such collisions are, then, an alternative way of celebrating these endlessly fascinating texts. This volume brings together a varied set of encounters with Nabokov’s prose, under the broad concerns of discourse and ideology in and around Nabokovian narrative. The contributors are all, to varying degrees, players of the game, but here they have been invited to use their skills to examine the connections between the Nabokovian text and the extra-textual reality of the world of actual experience. Using a variety of critical methods, and treating several different texts, some scrutinize ideological polarities and hierarchies (including those implied by the claim “art for art’s sake”), revealing their fundamental instability; others focus on variant readings of, and competing discourses within, novels like Lolita, Pale Fire and Bend Sinister; while others link Nabokov and his oeuvre with issues and changes in surrounding cultural structures, including the 1960s in America. As the chapters in this volume show, readers can and do move freely along the continuum between collusion and collision as they encounter Nabokov’s novels and short stories. The collection presents a dynamic struggle over meaning, in which dialogism displaces monologism, and there is a healthy incredulity towards all meta- and master-narratives. Paradoxically almost, the linguistic facility which makes Nabokov such an excellent game-player also encourages these readers, through its defamiliarizing effects, to think anew about artistry and reality, subjectivity and alterity, authority and autonomy. Galya Diment’s article “The Nabokov–Wilson Debate: Art versus Social and Moral Responsibility” examines the fraught relationship between Nabokov and Edmund Wilson, and between their perceived critical positions, and, in the process, deconstructs some cherished oppositions and hierarchies. While granting that Wilson has not fared well in Nabokov criticism, Diment argues that there may be another side to the story, and begins by rejecting the facile notion that Wilson was simply envious of Nabokov’s success and talent. She proposes that we evaluate their divergent political and artistic ideologies by contrasting Nabokov’s “ultimate Russianness” and Wilson’s “ultimate Americanness.” Rorty’s antithesis of Nabokov and Orwell is refined by positioning Wilson in the middle ground, between the broadly termed camps of “art for art’s sake” and “social intent.” She engages with those Nabokovian critics who blithely put Wilson into the social intent camp and suggests that Nabokov is actually the more limited critic of the two. The chapter concludes with the famous debate over Eugene Onegin and Wilson’s likening of Nabokov to Marx, suggesting that the distinction between Marxists and anti-Marxists threatens to dissolve, if both parties are absolutists. Any claim for the non-referential, ideologically neutral, nature of the 6 INTRODUCTION Nabokovian text, or for its essentially apolitical import, is always going to be at least partially vitiated by the existence of Bend Sinister, often described as the author’s only political, or overtly political, novel. Brian Walter’s “Two Organ-Grinders: Duality and Discontent in Bend Sinister” examines this anomalous document which interrupts Nabokov’s supposedly apolitical corpus. The Introduction, with its admission of the historical references of the novel which follows, ironically fulfills the responsibility of the Marxist critic, while the distancing of the author from the story results in a narrative counterpart of Brecht’s alienation effect. Walter detects a distinct personal animus on the part of the author towards Paduk and a corresponding sympathy for Krug, as well as a general distancing of characters from the reader which alienates the story itself from its audience. Following on Frank Kermode’s observation that Nabokov is fundamentally hostile to readers, he argues that there are nonetheless some rewards for those who are patient enough to persevere. As with the Afterword to Lolita, the Introduction to Bend Sinister attempts to shield the text from misreadings and from itself. The role of the Introduction is also a major concern in David H. J. Larmour’s “Getting One Past the Goalkeeper: Sports and Games in Glory,” which discusses the implications of Nabokovian discourse about men and women, and the nature of Martin Edelweiss’s fractured and fragile identity. The article focusses on three sporting scenes in the novel as pivotal moments in the hero’s quest for self-definition. The text associates Martin’s quest for glory on the sports field with his attempts to construct a sexual, social, and political identity for himself. Departing from the authorized interpretation suggested by the Introduction, Larmour offers a reading of Martin’s interaction with the female and male characters around him informed by Freudian analysis of male identity and Eve Kosofsky Sedgwick’s neo-Girardian paradigm of homosocial bonding between men. He suggests that Martin’s “heroic” identity is fragile and contradictory, and that the tensions can only be resolved by a return to a simpler time and self: the maternal homeland. This chronotope, however, is no longer available, leaving only death at the end of the winding path which disappears into the dark forest. Galina Rylkova discusses another of Nabokov’s early novels with homoerotic themes, The Eye, in “Okrylonnyy Soglydatay – The Winged Eavesdropper: Nabokov and Kuzmin.” Examining possible sources of The Eye first, she posits Kuzmin’s Wings as one of the texts which influenced Nabokov. Following up on references to Kuzmin in the short story “Lips to Lips” pointed out by Barnstead, Rylkova turns to The Eye, whose protagonist Smurov and his beloved Vanya take their names from the Vanya Smurov of Wings. Kuzmin’s novel was influenced by Symbolist notions of spiritual rebirth through homoerotic love; Nabokov’s Smurov also seeks a rebirth, but one devoid of philosophical and symbolic implications. 7 DAVID H. J. LARMOUR Rylkova discusses Plato’s dialogue on the soul, Phaedrus, as an intertextual document with reference to the relationship of Smurov and Kashmarin, the latter being a parody of the Platonic lover, like Kuzmin’s Stroop. The narrator of The Eye is seen as narcissistically in love with Smurov. Nabokov’s discourse of alienation is informed, Rylkova suggests, by contemporary scientific discourses on narcissism. Nabokov’s émigré and Kuzmin’s homosexual are thereby linked through their common societal alienation. Concerns about gender and sexuality are combined with close examination of structuring polarities and hierarchies in Paul Allen Miller’s “The Crewcut as Homoerotic Discourse in Nabokov’s Pale Fire.” He treats the description of Kinbote’s young lover Bob as a semiological intersection of some of the novel’s most important structuring oppositions: homosexuality versus heterosexuality, the effeminate versus the virile, European versus American, refined intricacy versus naive simplicity, and aristocratic culture versus lower-class barbarism. Miller proceeds to demonstrate that the vertical relations between these sets of oppositions are radically unstable, with the homosexual versus heterosexual opposition threatening to undermine the whole system. Bob’s crewcut – intriguingly linked with the closecropped appearance of the Oklahoma City bomber, Timothy McVeigh – Kinbote’s windbreaker, and a pair of trousers purchased in Cannes are all treated to Miller’s penetrating scrutiny. As the oppositions implode, we are left with a new awareness of how a fragile subjectivity drives our desire for the despised Other. The next two articles deal with Lolita and how the reader interacts with this provocative text. The mini-debate between the perspectives of Moore and Patnoe can be seen as part of the long-standing critical argument over Lolita: does it privilege Humbert’s solipsistic aestheticism or undermine it, or even both?12 Tony Moore’s “Seeing through Humbert: Focussing on the Feminist Sympathy in Lolita” picks up on competing discourses in the text and discerns in one a feminist voice. He argues that as a postmodern text, requiring continual “focal adjustment,” the novel subverts the conventions of male ownership in Humbert’s memoir and allows Dolores to break free from his rhetoric. This masculine rhetoric, in fact, imprisons Humbert himself. For Moore, some of Camille Paglia’s ideas find echoes in Nabokov’s novel and he suggests that Humbert experiences Lolita as a Paglian daemonic archetype. Linda Kauffman’s approach, on the other hand, he finds to be an instance of the “critical perversity that Lolita still attracts.”13 Charting Lolita’s escape from Humbert’s solipsism as the story progresses, the chapter contends that the text’s criticism of the narrator becomes gradually more apparent. This is best understood when we reread the book. Even if it is true that this novel has no clear answers to the problems of incest and spousal abuse, Moore points out, “that does not prove it is unaware of them.”14 8 INTRODUCTION These pressing social problems occupy a central position in Elizabeth Patnoe’s “Discourse, Ideology, and Hegemony: The Double Dramas in and around Lolita.” This investigates the Lolita Myth, which perpetuates the figure of Lolita as a seductive adolescent girl, not a molested and raped one. Exposing the complicity of Nabokovian critics and particularly male readers in this process, she argues that those who have been excluded from hegemonic readings of this text should, far from simply rejecting it, reclaim the book and the textual Lolita, counter the co-opted mythical Lolita, and resist the cultural appropriation of female sexuality which this episode so clearly exemplifies. The famous “seduction scene” in the Enchanted Hunters episode must be read for what it is: a rape. Readers who are seduced by the book’s form trivialize Lolita’s experience and fail to take adequate account of the trauma many other readers are likely to experience. This has direct pedagogical implications, as we confront the personal and cultural implications of Lolita. The last two chapters in the volume connect Nabokov as author and icon with the literary and cultural conditions surrounding the publication of his most successful writings. They also explore the complex relationship between the author’s personal perspective on political events and social conditions around him, and the effect his work had on these same phenomena. D. Barton Johnson’s article “Nabokov and the Sixties” traces the impact of Lolita and Pale Fire upon the cultural world of the 1960s in America, attempts to place Nabokov among his mainstream, Beat, and postmodernist coevals, and speculates on the writer’s reaction to the political and social changes which marked this decade. His name was everywhere and became associated with the liberation of the arts from censorship, yet, as Johnson points out, Nabokov was an absent presence, a king across the water in Montreux. For Johnson, Nabokov is also already absent from those literary trends, particularly postmodernism, on which he nevertheless left an indelible imprint. Nabokov’s extraterritorial existence may indicate a disaffection from the political and social disruption he saw in his adopted country. Scarcely apolitical for all his protestations (endorsing the Vietnam war was not an apolitical stance), he may have interpreted the disorder through the mirror of his memories of Russia and Germany in the earlier part of the century. Paradoxically, Lolita was part of this disorder, in the literary and, more broadly, the cultural arena. It is a text which breaks all sorts of barriers and taboos, and because of the time of its publication and its reception by the readers of the sixties, cannot but be associated with the physical manifestations of liberation from authoritarian control which are familiar to us all through video retrospectives. Suellen Stringer-Hye’s “Vladimir Nabokov and Popular Culture” takes us beyond the sixties and into the nineties. It considers the iconography of the author in written sources and on the Internet, where Lolita is the 9 DAVID H. J. LARMOUR object of a cyberpunk parody by Chuck Hammell, rescued from its ephemeral existence for us by Stringer-Hye. She goes on to associate Lolita with the Beats, through its status as a road novel. Ranging over the iconic field from Charlie Chaplin to Hitchcock, and from Kurt Cobain to Joey Buttafuoco, lover of the “Long Island Lolita” Amy Fisher, the survey establishes the continuing cult status of both text and author, and raises again the question of their relationship to actual events with real political and social consequences. What do we make now, for instance, of the Lolita Society? Or of Humbert’s abusive treatment of Lolita, which Elizabeth Patnoe tackles head-on in her article? The ambiguous status of the icon remains highly problematic. Notes 1 I would like to express my gratitude to Peter I. Barta, Paul Allen Miller, Sharon D. Nell and Susan Isabel Stein for their intellectual support of this project, their helpful observations on Nabokov’s writing, and their suggestions for critical and theoretical approaches to these texts. 2 Here I am following the range of meanings attributed to discourse by Foucault (1978, 80): “sometimes as the general domain of all statements, sometimes as an individualizable group of statements, and sometimes as a regulated practice that accounts for a number of statements.” 3 Colludo: Cicero, Verrine Oration 2.58 (nisi tecum tum collusisset); Seneca, Controversiae 9.4.5 (ne nos colludere tyrannus intellegat); cf. collusio: Seneca, Contr. 2.3.22 (suspicionem . . . inter raptae patrem et raptorem collusionis). Collido: Petronius, Satyricon 10.5 (mille causae quotidie inter nos collident); Quintilian, Institutes of Oratory, 7.7.2; 9.4.37. 4 Hutchinson (1983) counts Nabokov, with Joyce, among authors with an especially intense instinct for gaming (p. 15) and discusses Pale Fire as an example of “complex games” (pp. 38–40). See also Lilly (1979), Packman (1982, Chapter 1, “A Problem of Reading,” 1–22); Motte (1995, especially Chapter 1, “Reading Games,” 3–27; Chapter 4, “Authoritarian Nabokov,” 71–90; and the good bibliography, 215–229). 5 For examples of the kind of criticism which enters willingly into the spirit of Nabokov’s games, see Appel (1970); Proffer (1978); Johnson (1985); Barabtarlo (1989). 6 For discussions of play and games in culture generally and also in literature, see Huizinga (1955); Miller (1970); Irwin (1976); Hamburger (1979); Hans (1981); Morrow (1988). 7 Merivale (1967); Bader (1972). 8 See, for example, the discussion of discourse and ideology in Hampton (1990) and Eagleton (1991), 193–220. 9 Bakhtin (1981, especially 291–292). 10 Halliday (1978); Fowler (1981). 11 For examples of these methods at work, see Carter and Simpson (1989). 12 Readers may find that several of the issues raised – doubling, paedophilia and collusion – are interestingly refracted in the recent reading of Virginia Blum in her “Nabokov’s Lolita/Lacan’s Mirror” (Blum 1995), which compares Nabokovian and Lacanian narcissism. 10 INTRODUCTION 13 Kauffman (1989); Paglia (1991). 14 Cf. Pifer (1980), who suggests that self-conscious artifice does not eliminate reality from Nabokov’s novels, but “reveals it in new ways” (p. 47); Schneiderman (1985); Edelstein (1996) comments (p. 49) that “many contemporary works (e.g. Lolita, Beloved) raise ethical questions, even if they don’t provide definitive answers, and encouraging readers to ponder ethical issues can itself have an ethical effect.” 11 Part I THE ARTIST AND IDEOLOGY 1 THE NABOKOV–WILSON DEBATE Art versus social and moral responsibility Galya Diment It is well known that Wilson did not like Lolita, of which he informed Nabokov in his characteristically blunt fashion: “I like [Lolita] less than anything else of yours I have read” (Nabokov and Wilson 1980, 288–289). Nabokov was quite at a loss to explain why Wilson did not care for the novel, which he himself thought was his best and artistically purest creation. To change Wilson’s mind, Nabokov, who would later state with so much firmness that “Lolita has no moral in tow” (Nabokov 1966a, 286), even assured Wilson, somewhat tongue-in-cheek, that “Lolita . . . is a highly moral affair and does not portray American kulaks” (Nabokov and Wilson 1980, 298). What Nabokov was alluding to in this comment was his and Wilson’s long-standing disagreement on the nature of art, and as to whether “good” art and social and moral issues were at all compatible. Edmund Wilson has not fared well in Nabokov criticism, which tends to be rather partisan on the issue of the two men’s differences. It is a commonplace in Nabokov scholarship, for example, to assume that Wilson envied Nabokov his success and his talent, and that his envy somehow poisoned his reaction to Nabokov and his works. This view is very prominent in Brian Boyd’s biography, and a recent book by Gene Barabtarlo strengthens it even further. “It seems quite likely,” writes Barabtarlo, “that an ulcerous trace of Wilson’s spite toward Nabokov became noticeable by the mid-forties, worsened over the years, and turned especially acute after Lolita . . . because [Wilson] thought that Nabokov succeeded commercially where he [himself] . . . had failed” (Barabtarlo 1993, 274). Yet anyone who is familiar with Wilson’s journals and letters, as well as with other writers’ reminiscences about him, will find this interpretation of Wilson’s reaction to another writer quite out of character. Wilson could be cruelly blunt and overbearing but to his contemporaries he was much more known for celebrating other writers’ talents, rather than begrudging them their successes. Pritchett, who knew Wilson personally and who 15 GALYA DIMENT admired Nabokov as a writer, was one of many who was quite convinced that envy had nothing to do with Wilson’s evaluation of Lolita: “Some have thought that Wilson’s distaste for Lolita sprang from his envy of the success of Nabokov’s book, but Wilson was the least envious, most generous of men, as generous as the forthright Dr. Johnson, more particularly the Johnson of Lives of the Poets” (in Groth 1989, 183). Wilson’s reaction to Lolita was probably more “territorial” than anything else. He appears to have been irked by Nabokov’s assumption that he knew things American to the same extent that Nabokov was often irked by Wilson’s assumption that he knew things Russian. “It is difficult to imagine a close friendship between two people with such different political and aesthetic views,” John Kopper writes about Wilson and Nabokov in the recent Garland Companion to Vladimir Nabokov (Alexandrov 1995, 57). Nabokov himself characterized his relationship with Wilson to Andrew Field as one where there was “hardly a moment when the tension between two highly dissimilar minds, attitudes and educations is slackened” (Boyd 1991, 494). And yet, throughout the 1940s, their relationship was relatively uncomplicated. For Edmund Wilson, Nabokov represented the culture and literature which had always fascinated him. For Vladimir Nabokov, Wilson, an accomplished man of letters, served as a gateway to American culture and the literary establishment. Their early letters to each other were full of appreciation and even tenderness. “Dear Vladimir: How are you?” read a typical letter from 1942, “I’ve been reading more Pushkin with great enthusiasm, and wish you were around to talk to” (Nabokov and Wilson 1980, 67). “Dear Edmund,” Nabokov would write after a visit to Massachusetts to see Wilson and his wife at the time, Mary McCarthy. “Those 24 hours were lovely. We shall be very disappointed . . . if we do not see you on Sunday” (Nabokov and Wilson 1980, 61). And then something went terribly wrong, and seemingly irreconcilable differences, rather than appreciation or mutual tolerance, took over. There are various ways to account for these differences, of course. There are issues of personal temperaments involved, and those of professional inclinations. As one Wilson scholar pointed out recently, Nabokov was, after all, “quintessentially an artist and Wilson . . . quintessentially a critic” (Groth 1989, 199), and artists and critics often view things differently. Yet, it seems to me, it was precisely what had attracted them to each other in the first place that would split them apart later on, for it was Nabokov’s ultimate Russianness and Wilson’s ultimate Americanness that may best account for most of their disagreements. As Rosalind Baker Wilson puts it, her father always had an unmistakable longing for “a very American frame of reference” (1989, 223). While he envied Europe its culture and its writers, he, unlike other Americanborn writers such as Ezra Pound or T. S. Eliot, always believed in the 16 THE NABOKOV–WILSON DEBATE American potential to develop an interesting cultural and literary scene of its own. He took personal and professional pride in the appearance of talented local writers, in particular his friend Scott Fitzgerald, whom he often tried to shape and guide. Thus he wanted Fitzgerald to get the best of what Europe could offer: “Learn French,” he admonished Fitzgerald in 1921, “and apply a little French leisure and measure to that restless and nervous system. It would be service to American letters: your novels would never be the same afterwards” (Wilson 1977, 64). “American letters” appeared to be what concerned Wilson most, for when, several years later, Fitzgerald decided to stay in Europe for a lengthy period of time, Wilson’s admonition changed to: “I . . . wish you didn’t insist upon living abroad, which I’m convinced is a great mistake for American writers, hard as America can be to live in” (Wilson 1977, 202). Wilson as an author, critic, and journalist is also “quintessentially American.” In an article appropriately entitled “The American Edmund Wilson,” Robert Alter aptly captures Wilson’s intellectual hunger: “He was . . . the least bored of modern intellectuals, constantly finding new materials to read and new scenes to explore that powerfully engaged his attention, excited him to further inquiry” (Alter 1984, 171). Wilson’s is the hunger and the restlessness of the New Intellectual World, it is the burning and driving desire to uncover, rediscover, and reinvent what the Old World, the world most familiar to Nabokov, may have known for ages, and may have got tired of. In his political development, Wilson was equally “American,” and that, too, set him very much apart from Nabokov. Like many intellectuals of his generation, Wilson contemplated Marxism in the 1930s and, for a while, was even duped into believing that the Soviet model of development contained some hope for mankind. By the time he met Nabokov, in 1940, both his Marxism and his very brief love affair with Soviet Russia were largely behind him, but to the end of his days he, unlike someone like Dos Passos or Steinbeck, remained a staunch liberal. Throughout his life, he protested inequalities in the position of American Indians and blacks, and he also publicly condemned the Vietnam War. On many of those issues, Nabokov often appeared to be on the opposite side. He was understandably anti-Communist and anti-Marxist, but in the early 1950s, in the midst of the worst “purges” of the liberal intelligentsia, Nabokov’s colleagues at Cornell were quite astonished by the seemingly callous and dangerous remarks he made about some people’s allegedly “pro-Soviet” inclinations. During the Vietnam War, Nabokov left no doubt that he had nothing but contempt for the protesters. Thus when he translated The Waltz Invention into English in 1966, he wrote in the Foreword that he would not have even attempted to write the play “lest any part of me, even my shadow, even one shoulder of my shadow, might seem thereby to join in those ‘peace’ demonstrations conducted by 17 GALYA DIMENT old knaves and young fools, the only result of which is to give the necessary peace of mind to ruthless schemers in Tomsk or Atomsk” (Nabokov 1966b, 4). Needless to say, some of those “old knaves” were Wilson’s friends, several of whom frequently marched and were at times arrested. What is interesting in Nabokov’s statement – beyond its obvious antipeacenik rhetoric – is his allusion to “Atomsk” and “Tomsk.” Unlike Wilson, with his “very American frame of reference” which translated into his concern over what the war was doing to the American society, its youth, and its morale, the émigré Nabokov’s frame of reference obviously omits the United States and focusses on the hateful regime he left back in Russia, and the benefits that regime can draw from the anti-war demonstrations in this country. Given these stark differences between the two men, it should obviously not come as a surprise that Wilson and Nabokov disagreed, among other things, on the role that moral and social concerns should play in art in general, and in literature in particular. What should come as a surprise, however, is that, upon close inspection, the debate was not – or should not have been – as extreme as it often sounds or is being portrayed. For, while Nabokov’s views on art were definitely absolutist, Wilson’s were not. It was not an accident, therefore, that when Richard Rorty wanted to find a perfect antithesis to Nabokov’s views on art he settled on Orwell, rather than Wilson, who to many would have seemed a more natural choice. Orwell and Nabokov allowed Rorty to set up a perfect paradigm. On the one hand, there was the author of 1984 whose article “The Frontiers of Art and Propaganda” was often used as a manifesto against the art-for-art’s-sake doctrine, and, on the other, there was Nabokov who liked to state, unequivocally, that “nothing bore[d him] more than political novels and the literature of social intent” (Nabokov 1973, 3). Orwell’s and Nabokov’s statements contrast quite nicely. “You cannot take a purely aesthetic interest in a disease you are dying from,” Orwell wrote in “The Frontiers,” “you cannot feel dispassionately about a man who is about to cut your throat.” Orwell also went on to state that the strongly politicized late 1930s and 1940s “did a great service to literary criticism, because it destroyed the illusion of pure aestheticism. . . . It debunked art for art’s sake” (Rorty 1989, 145). Vladimir Nabokov, who was quite active during the period Orwell is describing, obviously did not share that view. The example of Nabokov’s approach that Rorty gives is quite telling. Rorty draws on Nabokov’s lecture on Bleak House where he analyzes the narrative lamentation which follows the death of the boy Jo: “Dead, your majesty! Dead my lords and gentlemen! . . . And dying around us every day” (Nabokov 1980, 94). “This,” says Rorty, “is a call to public action if anything in Dickens is. But Nabokov tells us that the chapter is ‘a 18 THE NABOKOV–WILSON DEBATE lesson in style, not in participative emotion’.” “Notice,” Rorty continues, “that if Nabokov had said ‘as well as’ instead of ‘not,’ nobody would have disagreed. By saying ‘not’ he maintains his stance as someone who is concerned with nothing but ‘aesthetic bliss’.” “Both Nabokov and Orwell,” concludes Rorty, “unfortunately got enmeshed in attempts to excommunicate people with talents and interests different from their own” (Rorty 1989, 145–147). Wilson’s attitude toward the art versus moral and social responsibility question fitted in between Nabokov’s and Orwell’s. He did believe in a social mission for intellectuals and artists. “We are under a certain obligation not to let this sick society down,” he wrote to Louise Bogan, a poet, in 1931. “We have to take life – society and human relations – more or less as we find them – and there is no doubt that they leave much to be desired. The only thing that we can really make is our work. And deliberate work of the mind, imagination, and hand . . . in the long run remakes the world” (Wilson 1977, 206). But Wilson also habitually upheld one’s absolute right to be a “pure artist” if the artist’s talents and inclinations directed him or her that way. Wilson was, after all, an early popularizer of sophisticated literary perfectionists like Joyce and Proust, and he always appreciated them precisely for what they were, not for what they were not. While he may not have been particularly strong as a critic when it came to close artistic analyses (in which Nabokov was often superb), Wilson’s sense of literature as a constantly evolving whole may actually have been more acute and more comprehensive than Nabokov’s. We should remember, for example, that Wilson was among the first literary scholars not only to link Modernism to Romanticism, through the Subjective Impulse, but also to separate the two because, according to Wilson, unlike Romanticism, Modernism, thrived on “ugly” as well as “beautiful” and on “profane” as well as “sacred.” Nabokov and Wilson’s numerous debates on the appropriateness of moral and social issues for art are well known. Faced with Nabokov’s outright rejection of anything that was not, in Nabokov’s mind, “pure” literature, Wilson often lost his cool and could sound more extreme than he actually was. “I have never been able to understand,” wrote an exasperated Wilson to Nabokov in 1948, “how you manage, on the one hand, to study butterflies from the point of view of their habitat and, on the other, to pretend that it is possible to write about human beings and leave out of account all questions of society and environment. I have come to the conclusion that you simply took over in your youth the . . . Art for Art’s sake slogan and have never thought it out” (Nabokov and Wilson 1980, 211). Nabokov was equally adamant in his response: “I do not give a hoot whether a writer is writing about China or Egypt, or either of the two Georgias – what interests me is his book” (Nabokov and Wilson 1980, 212). 19 GALYA DIMENT The publication of Nabokov’s own uncharacteristically “political” novel, Bend Sinister, presented an apparent paradox in their ongoing debate. Contrary to what one may expect of a critic who was overall not bored by “political novels and the literature of social intent,” Wilson was actually displeased with the novel. “You aren’t good at this kind of subject which involves questions of politics and social change,” he wrote to Nabokov in 1947, “because you are totally uninterested in these matters and have never taken the trouble to understand them. . . . Now don’t tell me that the real artist has nothing to do with the issues of politics. An artist may not take politics seriously but if he deals with such matters at all he ought to know what it is all about” (Nabokov and Wilson 1980, 182–183). Wilson expressed similar objections about Nabokov’s “political” play, The Waltz Invention. Nabokov critics often dismiss Wilson’s reaction – as well as his subsequent refusal to review the novel – as a pre-Lolita case of envy. It is impossible to say how Nabokov himself interpreted it privately, but publicly he attributed Wilson’s low estimate of Bend Sinister to his friend’s dogmatism: “In historical and political matters you are partisan of a certain interpretation which you regard as absolute . . .” (Nabokov and Wilson 1980, 185). And yet Wilson was neither envious nor dogmatic. He was simply stating his life-long held belief – and he was stating it with his typical bluntness – that different writers have different strengths, and they should avoid the risk of being undercut by something they were not good at. Wilson may have liked writers like Anatole France or Malraux, whom Nabokov could not stand, but it did not mean that he wanted everyone to write “political novels.” On the contrary, with Scott Fitzgerald – as with Nabokov later – Wilson definitely felt that his friend could be a better writer if he left political and social concerns alone, because he was not good at expressing them. “It would all be better if you would tighten up your artistic consciousness and pay a little more attention to form,” Wilson wrote to Fitzgerald in 1919. He also told him to learn from Joyce because of his “rigorous form . . . and polished style” (1977, 46). Since Nabokov critics like to present Wilson as someone belonging primarily to the “social intent” camp, the fact that Wilson often fought against the extremes of this doctrine is largely overlooked. But in 1950 Wilson vigorously attacked The Saturday Review of Literature precisely because it published an editorial which called for “The Destruction of Art for Art’s Sake,” the editorial’s actual title. Wilson condemned The Saturday Review’s view as ignorant, simplistic, and extremely irresponsible for a journal devoted to literature (1977, 484). And even in the intense heat of Wilson’s argument with Nabokov over Nabokov’s translation of Eugene Onegin, the critic took some time off criticizing Nabokov to criticize those who 20 THE NABOKOV–WILSON DEBATE comb . . . literature for masked symbols and significant images [representing] ideas, philosophical, theological and political, which can never have entered the author’s head [while] show[ing] remarkably little sensitivity to the texture and rhythm of writing, to the skill in manipulating language, for the rendering of varied effects. (Wilson 1972, 228) Wilson himself did sometimes sin on the side of placing too much emphasis on literature as a social document but, when Nabokov confronted him with his objections, it was Nabokov, rather than Wilson, who ended up sounding the more inflexible of the two. Typical in this respect is Nabokov’s 1956 response to Wilson’s preface to the translated works of Chekhov: You can well imagine how strongly I disapprove of your preface. Do you really think that Chehov is Chehov because he wrote about “social phenomena,” “kulaks,” and “rising serfs” (which sounds like the seas)? . . . I think that at a time when American readers are taught from high school on to seek in books “general ideas,” a critic’s duty should be to draw their attention to the specific detail, to the unique image, without which . . . there can be no art, no genius. (Nabokov and Wilson 1980, 298) The truth is, Wilson does talk in this preface almost exclusively about what he calls “an anatomy of Russian society” as found in Chekhov’s late stories, which Wilson selected with that particular purpose in mind. He does mention “kulaks” and “rising serfs,” and he also alludes to “the difficult readjustments of a new industrial middle class” (Wilson 1956, viii, ix). But, characteristically, as in the analysis of Dickens which Rorty cites, Nabokov does not suggest that Wilson should have focussed on the artistic details and images in addition to possible “social phenomena” – which are actually quite obvious in Chekhov’s stories of that period; he wants Wilson to concentrate on details and images instead of it. It is easy to account for Nabokov’s distaste for any present or perceived “social intent” in literature. Those went against the grain of two sensibilities which were strongly developed in him – that of a modernist and that of an anti-Chernyshevsky and anti-socialist-realism Russian intellectual. If he sometimes exaggerated the danger of any discussion of moral or political content in literature, he was in good company, and yet we should not overlook the fact that it often made him a rather limited critic. As I mentioned earlier, while Nabokov’s literary tastes and sensibilities were more refined than Wilson’s, and his insights into the creative process invaluable, 21 GALYA DIMENT it was Wilson, rather than Nabokov, who attempted to look at literature in a more comprehensive and wholesome fashion. Wilson came quite close to what Rorty, for one, considers an ideal critic, someone who understands that [t]he pursuit of private perfection is a perfectly reasonable aim for some writers – . . . like Plato . . . Proust, and Nabokov, who share certain talents. Serving human liberty is a perfectly reasonable aim for other writers – . . . like Dickens . . . Orwell. . . , who share others. There is no point in trying to grade these different pursuits on a single scale . . . nor is there any point in trying to synthesize them. (Rorty 1989, 145–146) As Rorty points out, Nabokov, on the other hand, frequently and summarily excommunicated many writers who were different from himself, dismissing them with devastating one-liners – like branding T. S. Eliot or Dostoevsky as third-rate artists. What is even more remarkable, though, in my opinion, is how Nabokov made other writers, whom he generally admired, look like his own artistic clones by virtually ignoring or underestimating their possible or even clearly-expressed social or moral concerns. Dickens and Chekhov are but the two examples here, while the most dramatic case in point is probably that of late Tolstoy, whose heavy moralistic side Nabokov conveniently tossed off as a minor annoyance not worthy of serious consideration. Finally a few thoughts on how the last Nabokov–Wilson debate, that on Eugene Onegin, reflected on their previous arguments over the issues of art and “social intent.” I am not aware that anyone has made the point yet, but this last debate can be seen, in some ways, as an ironic reversal of the roles that Wilson and Nabokov had played before. Whereas in his early letters to Nabokov, like the one cited in the beginning of this chapter, Wilson complained that while Nabokov was interested in the “habitat” of butterflies, he left out “all questions of [human] society and environment,” in “The Strange Case of Pushkin and Nabokov,” Wilson actually lamented that there was too little “artistry” in Nabokov’s translation of Pushkin, and too much information on the “physical” world. “[W]e are almost surprised,” Wilson sarcastically states at one point, “not to be given the zoological data on the bear in Tatyana’s dream” (Wilson 1972, 222). Long tired of Nabokov’s suggestions that, while no longer a Marxist in his politics, Wilson might have been still a Marxist in his approach to art, Wilson also turned the tables on Nabokov by likening him to Marx. Nabokov’s review of Walter Arndt’s translation of Eugene Onegin, Wilson pointed out, “sounded like nothing so much as one of Marx’s niggling and nagging attacks on someone who had had the temerity to write about eco22 THE NABOKOV–WILSON DEBATE nomics and to hold different views from Marx’s” (Wilson 1972, 209). That was undoubtedly the most insulting comparison that Wilson could ever have drawn. While he did it mainly to tease Nabokov and probably to hurt him, Wilson was also suggesting that there was little distinction between Marxists and anti-Marxists if the parties involved happen to be absolutists. Nabokov obviously disagreed – but then, he and Wilson disagreed about almost everything else, especially towards the sad end of their strange and tumultuous relationship. 23 2 TWO ORGAN-GRINDERS Duality and discontent in Bend Sinister Brian D. Walter In the middle of Bend Sinister’s seventh chapter, a watchful Adam Krug fatefully interrupts Ember, just as his friend attempts to proceed with their conversation on the problems of translating Shakespeare. In this novel of interruptions, Krug’s silencing of his friend clearly presages the rupture which is momentarily to follow – Hustav’s and Linda Bachofen’s invasion of Ember’s home to arrest the harmless scholar: [Krug] had become aware of the yard. Two organ-grinders were standing there, a few paces from each other, neither of them playing – in fact, both looked depressed and self-conscious. Several heavy-chinned urchins with zigzag profiles (one little chap holding a toy cart by a string) gaped at them quietly. “Never in my life,” said Krug, “have I seen two organ-grinders in the same back yard at the same time.” “Nor have I,” admitted Ember. “I shall now proceed to show you –” “I wonder what has happened?” said Krug. “They look most uncomfortable, and they do not, or cannot play.” “Perhaps one of them butted into the other’s beat,” suggested Ember, sorting out a set of fresh papers. “Perhaps,” said Krug. “And perhaps each is afraid that the other will plunge into some competitive music as soon as one of them starts to play.” “Perhaps,” said Krug. “All the same – it is a very singular picture. An organ-grinder is the very emblem of oneness. But here we have an absurd duality.” (p. 121) In their ominous duality, it is the organ-grinders who introduce the first minor chord into Krug’s and Ember’s composition, a theme that the forth24 TWO ORGAN-GRINDERS coming arrest will develop in full to drown out what had been the scholars’ private duet. This scene, like the chapter in which it is set, serves as an emblem for the novel, in which Krug’s life is repeatedly and ruinously interrupted by the intrusions of Paduk’s Ekwilist minions. At a still further remove, the two organ-grinders also reify the generally-accepted status of Bend Sinister within its author’s corpus as the political novel that interrupts Nabokov’s aggressively apolitical program. Nabokov’s first novel written in America seems to stick out at odd angles from the body of his work. His novels prefer to offer an artist dressed up in the tall hat and long tails of the magician, conjuring the pleasant surprise of his audience with unexpectedly embellished parlor tricks, polysyllables like colorful flowers pulled triumphantly from the hat, metaphors blooming like mischievous rabbits from the tip of the cane – the artist as giddy verbal showman. In a famous statement in “On a Book Entitled Lolita,” he describes the goal of his work as the generation of “aesthetic bliss, that is a sense of being somehow, somewhere connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm” (Nabokov 1989a, 314) – the reader’s blissful, even transcendent, experience finally confirming the author’s. But aesthetic bliss plays no part in Nabokov’s description of Bend Sinister to a potential publisher, which instead underlines its unorthodoxy, at least with respect to the author’s customary goals: I propose to portray in this book certain subtle achievements of the mind in modern times against a dull-red background of nightmare oppression and persecution. The scholar, the poet, the scientist and the child – these are the victims and witnesses of a world that goes wrong in spite of its being graced with scholars, poets, scientists, and children. . . . Although I do not believe in message of hope books whose intention is to solve the more or less transient problems of mankind, I do think that a certain very special quality of this book is in itself a kind of justification and redemption, at least in the case of my likes. (Nabokov 1989b, 48–49) Although tentative and highly qualified, Nabokov’s acknowledgment of the novel’s historical underpinnings would seem to consign Bend Sinister to a category the author never fails to scorn: the “Literature of Ideas.” Nabokov’s description of the novel in fact allows it to be understood as an example of the “political novel,” a work, in Irving Howe’s terms, of “internal tensions” produced by a confrontation between “experience in its immediacy” and “general and inclusive” ideology (Howe 1992, 20). To call any of Nabokov’s works a political novel suggests immediately that it represents some compromise on the author’s part, not only because of his 25 BRIAN D. WALTER theoretical statements on the incompatibility of art and politics, but also because of his personal alienation from the subject. Nabokov knew from early experiences that political topics did not focus his talents well, as they had for his diplomat and jurist father, and that his own attempts at political speech thus rang false. In an interview, he refers to his political disinterest as his “second favorite fact” about himself: [S]ince my youth – I was 19 when I left Russia – my political creed has remained as bleak and changeless as an old grey rock. It is classical to the point of triteness. Freedom of speech, freedom of thought, freedom of art. The social or economic structure of the ideal state is of little concern to me. My desires are modest. Portraits of the head of government should not exceed a postage stamp in size. No torture and no executions. No music, except coming through earphones, or played in theaters. (Nabokov 1990b, 34–35) Given this limited ideological “commitment” in the author, Bend Sinister represents an apparently unwilling political novel, one that admits the conflict between specific experience and general ideology only grudgingly. Even as an unwilling political novel, however, Bend Sinister would fail one of Nabokov’s primary tests of art by acknowledging and – much worse – actually depending on the existence of so conventional a notion as the persecution of the “mind in modern times.” Not surprisingly then, the author uses his introduction to shield Bend Sinister from such readings. But Nabokov’s protective scorn for the villains of history finally only emphasizes their pertinence to the novel’s project: [T]he influence of my epoch on my present book is as negligible as the influence of my books, or this book, on my epoch. There can be distinguished, no doubt, certain reflections in the glass directly caused by the idiotic and despicable regimes that we all know and that have brushed against me in the course of my life: worlds of tyranny and torture, of Fascists and Bolshevists, of Philistine thinkers and jack-booted baboons. No doubt, too, without those infamous models before me I could not have interlarded this fantasy with bits of Lenin’s speeches, and a chunk of the Soviet constitution, and gobs of Nazist pseudo-efficiency. (Nabokov 1990a, xii–xiii) By his own description, then, the showman who usually takes unmistakable pleasure in conceiving and directing his own program has, in choosing Bend Sinister’s topic, limited himself to the part of a relatively detached player. Like his characters – “victims and witnesses,” as he calls them – 26 TWO ORGAN-GRINDERS Nabokov’s relation to his fictional history remains (for him) surprisingly and painfully passive, dictated by the goal of testifying to a world gone wrong. It is telling that Nabokov’s grudging acknowledgment of his novel’s historical reflections adapts easily to theories of the innate sociality of literary production. In fact, Nabokov’s acknowledgment ironically executes the Marxist critic’s responsibility, as defined by Fredric Jameson: These [past literary] matters can recover their original urgency for us only if they are retold within the unity of a single great collective story; only if, in however disguised and symbolic a form, they are seen as sharing a single fundamental theme – for Marxism, the collective struggle to wrest a realm of Freedom from a realm of Necessity; only if they are grasped as vital episodes in a single vast unfinished plot. . . . It is in detecting the traces of that uninterrupted narrative, in restoring to the surface of the text the repressed and buried reality of this fundamental history, that the doctrine of a political unconscious finds its function and its necessity. (Jameson 1981, 19–20) By his acknowledgment, Nabokov restores to the surface the traces of history for which the Marxist critic is responsible. The author’s attempt to undercut the ideological character of his material – to write it off as “reflections” and borrowings – also could suggest the inescapability of his social and historical moorings. The impression of Nabokov’s unhappy compulsion leaves Bend Sinister susceptible to Virginia Woolf’s criticism of work born of clear social and political motivation – that it frequently suffers from the author’s own unhappiness with the compulsion of his topic. Much of Bend Sinister betrays precisely this sullenness in its author. Despite its intended philanthropy, the novel conveys an equally strong impression of the author’s horror and hatred, featuring images of brutality and violence – including the arrests of Krug’s friends, the dismemberment of his eight-year-old son (which is filmed for the father’s anguished audience), and the rape of the child’s former nursemaid by forty soldiers – that cannot help undercutting the novel’s “message of hope.” Nabokov’s transparent concern to expose and implicate the criminals responsible for Krug’s world gone wrong counters his straightforwardly noble intentions for the novel. The narrator’s frequent intrusions upon the story – usually a favorite device of Nabokov’s for emphasizing his role as the creator of the fiction – further register the author’s discomfort with his delimited role here. The intrusions in Bend Sinister lack the playfulness, the self-pleasure, that mark their use in other novels, resulting in what Brian Boyd has described as the novel’s coldness toward the reader, its “refusal to satisfy the ordinary 27 BRIAN D. WALTER interests of readers” (Boyd 1991, 106). What Bend Sinister ultimately reveals is the author’s strenuous and not altogether successful effort to compose a “political novel” that would belie generic convention, in which conventional tyranny is exposed for its conventional suppression of the conventionally anomalous individual. Unsure in his attempts to parody this formula, Nabokov ultimately produces a novel that strives to fend off the reader’s conventional interests even as it finds itself forced to court them. Lucy Maddox has touched on this point in the connection she draws between Bend Sinister’s “self-consciously artificial” nature and its “indictment of the common impulse Nabokov saw behind both political totalitarianism and the misguided tendency of writers or readers to inflict ‘general ideas’ on works of art” (Maddox 1983, 53). My aim here is to draw out, in much greater detail than either she or Boyd has, the results of this forbidding narrative artifice within the novel’s highly ambivalent and unusually domineering relationship with its readers. The distancing of the author from his story, so foreign to Nabokov’s preferences, results in a narrative counterpart of Brecht’s alienation effect, whereby the actor self-consciously detaches himself from his part to make the “spectator adopt an attitude of inquiry and criticism” to the events depicted (Brecht 1964, 136). Tellingly, the ultimate benefit of the alienation effect is social, to set up a dialogue between spectator and play (or author and audience) about social conditions, “prompt[ing] the spectator to justify or abolish these conditions according to what class he belongs to” (p. 139). The discussion of social conditions prompted by the alienation effect parallels, in Marxist idiom, Nabokov’s reference to Bend Sinister’s designs on a “message of hope.” By finding an analogue for Brecht’s alienation effect in Bend Sinister, my argument in effect suggests that the author of The Gift and Lolita has also authored a political satire of fundamental internal tensions, uncomfortable as it is with the ways in which it makes itself available to generic classification as satire. “Satire is a lesson, parody a game,” the author once proclaimed in documenting his preference – on principle – for the latter (Nabokov 1990b, 75), providing at the same time an apt description of Bend Sinister as an example of the former in its dutiful assertion of a “message of hope.” Satire is a lesson, moreover, that brings out in its author, as Italo Calvino has argued, the “moralist [who] thinks he is better than others . . . [who] believes that things are simpler than they appear to be to others . . . [but who] is prevented by repulsion from gaining a better knowledge of the world he is attracted to, [even as] he is forced by attraction to concern himself with the world that repels him” (Calvino 1986, 62–63). For Calvino, satire remains fundamentally uncongenial to comedy, and Nabokov, to judge from his distinction between necessarily didactic satire and his preferred parody, agrees. So, no matter how successful or appropriate its work as satire, Bend Sinister would seem at least partially 28 TWO ORGAN-GRINDERS to fail one of its own author’s key tests of artistic achievement, betraying as it does precisely the kind of love–hate relationship between the author and the fictional world he has constructed that Calvino imputes to satire. In its uneasy political satire, Bend Sinister betrays too a fundamental uneasiness in its relations with its audience. While Nabokov’s work on the whole evinces a preference for guiding and often even controlling its reader’s response, in the case of this novel, the authorial need for control takes on revealing urgency. The novel’s relationship with the reader in fact closely resembles Peter I. Barta’s description of the author–reader dynamic in Nabokov’s short story “The Visit to the Museum,” in which “the narrative does not seem to invite the reader’s full experience of these texts to create meaning. Rather, Nabokov leads an implied reader in accordance with his intention” (Barta 1995, 227). But, just as Barta shows is the case with “The Visit to the Museum,” if Bend Sinister transparently undermines Nabokov’s claim that he “abhors didacticism,” showing how he “manipulates his reader into patterning the diverse elements in the story into the meaningful scheme he has in mind” so that the reader is allowed “no alternative ways of making sense of the past,” the book also undermines its own satiric intentions, limited as they are by the author’s distaste for the genre’s moralistic traits, so that finally, the “didactic intention invites . . . ironically enough, ‘misreadings’ which question [the work’s] silent affirmations and open up the text to the making of alternative meanings” (Barta 1995, 234). Hence, the troubled applicability of both the generic label satire and Brecht’s alienation effect serves to make of Bend Sinister a highly instructive, if oblique, lesson in Nabokov’s preferred relations with his reader, for both satire as a genre and the alienation effect as Brecht describes it comprise “the exact opposite of that which aims at empathy” (Brecht 1964, 136). The generation of Nabokov’s aesthetic bliss – sensations of curiosity, tenderness, kindness, and ecstasy – depends, in direct contrast, on an empathic relationship between the writer and the reader. Despite their well-known structural complexity and frequently forbidding appearance, Nabokov’s works prefer to offer the reader an embrace, provided that the reader demonstrates the faculties of comprehension and of sympathy that permit entrance into the author’s private world: Up a trackless slope climbs the master artist, and at the top, on a windy ridge, whom do you think he meets? The panting and happy reader, and there they spontaneously embrace and are linked forever if the book lasts forever. (Nabokov 1980, 2) In Bend Sinister, however, Nabokov finds that the slope of political purpose he has chosen to scale is not trackless, that no matter how artfully 29 BRIAN D. WALTER he diverts his course, others have been there before him. Not surprisingly, then, he cannot find it in himself simply to open his arms to the reader of this novel. The union that finally does take place is awkwardly selfconscious, with the reader kept at a cautious arm’s-length; the author’s distrust of his project being transformed into an uneasy relationship with his audience. Far from “welcom[ing] the risk of a novel that will appeal to a very few” in Bend Sinister, as Boyd suggests, Nabokov rather, in my view, accepts this risk as the best and only possible compromise between his preferred aims for unengaged art and the unusually domineering political project in this novel. His unmistakable ambivalence toward the novel emphasizes how little he, in fact, welcomes the prospect of alienating his audience. Nabokov vs. the characters of Bend Sinister The clearest sign of Nabokov’s unease with the project of Bend Sinister is his unmistakable animosity for the characters he must call upon to depict its world gone wrong. The spite he shows in characterizing the soldiers and agents tormenting Krug represents a significant departure from his preferred indifference toward his characters. When asked in an interview whether he has shared other writers’ experience of a character “taking hold” of them to “dictate the course of the action,” Nabokov can only respond in horror, emphasizing instead the “perfect dictator[ship]” he maintains in his fictional worlds, the indifference he maintains toward his characters. Bend Sinister, however, lacks this authorial indifference. Nabokov clearly exaggerates the stupidity and the ugliness of the state functionaries responsible for Krug’s tragedy, endowing them with the most repulsive mental and physical characteristics. Conversely, Nabokov’s protection of Krug betrays an attachment that none of his other creations – not even the protagonists of his other novels – enjoys. An obvious emotional involvement with the characters punctures Nabokov’s perfect dictatorship in Bend Sinister, with an important consequence for the reader: the only responses allowed are a similar disgust for the villains and a similar affection for Krug, with the author driving all characterizations toward this dual goal. Evidence of the author’s personal animus litters the novel, clearly directing, for instance, the characterization of his dictator, Paduk. Nicknamed the Toad as a schoolboy, the eventual head of the Party of the Average Man distinguishes himself only by being “dull, commonplace, and insufferably mean” (Nabokov 1990a, 68). When Krug encounters the adult Paduk, now the dictator, the philosopher learns that maturation has not improved the Toad, whose physical ugliness is still so severe and parodied that even the narrator doubts his description: 30 TWO ORGAN-GRINDERS Physically the Toad had hardly changed except that every particle of his visible organism had been expanded and roughened. On the top of his bumpy, bluish, shaven head a patch of hair was neatly brushed and parted. His blotched complexion was worse than ever, and one wondered what tremendous will power a man must possess to refrain from squeezing out the blackheads that clogged the coarse pores on and near the wings of his fattish nose. . . . In a word, he was a little too repulsive to be credible . . . (p. 143) The narrative magnifying glass here, trained on the ugliness of human skin, resembles Gulliver’s perspective in Brobdingnag, whose inhabitants’ gigantic features reveal to him only their imperfections. Like Swift, Nabokov clearly intends to arouse disgust in his reader for the viewed object. The blotchy complexion is, in fact, one of the distinguishing characteristics of the Ekwilist; Nabokov fastens on the “repulsive patches of unshaven skin and pustules” that mark David’s abductors (p. 198). The same desire to alienate the reader guides the characterization of Paduk’s schoolboy followers, the forebears of the Ekwilist soldiers and agents who torture the adult Krug. An unlikely and unlovely inventory of disabilities distinguishes the young Paduk’s entourage: Every one of [Paduk’s] followers had some little defect or “background of insecurity” as an educationist after a fruit cocktail might put it: one boy suffered from permanent boils, another was morbidly shy, a third had by accident beheaded his baby sister, a fourth stuttered so badly that you could go out and buy yourself a chocolate bar while he was wrestling with an initial p or b: he would never try to by-pass the obstacle by switching to a synonym, and when finally the explosion did occur, it convulsed his whole frame and sprayed his interlocutor with triumphant saliva. . . . Protection was provided by a truculent simian youth who at seventeen could not memorize the multiplication tables but was able to hold up a chair majestically occupied by yet another disciple, the fattest boy in school. (p. 74) Although Nabokov’s narrators consistently train their gaze on outward features to suggest personality traits, in none of his other novels does this strategy function so ruthlessly or reductively. In his critical statements, Nabokov frequently advocates the power of the odd or seemingly irrelevant detail, the sign of uniqueness that the artist alone is sensitive to. He criticizes Dostoyevsky, for instance, for not “seeing” his characters, for offering in them “mere ideas in the likeness of people” (Nabokov 1981, 31 BRIAN D. WALTER 130); but clearly, his own attention to physical detail in describing Paduk’s followers leaves him open to an even worse charge – that he clothes repulsive ideological defects in the physical likeness of people. Servicing the author’s personal anger, this emphasis on physical detail turns nasty, discerning only the ugly trait. The prospect of drawing a politically-motivated character clearly brings out the bitterness in Nabokov. The novel offers two types of this character, both the simpleton who is merely attracted to the immediate power of a uniform and a rifle, as well as the less obviously but more truly dangerous dupe who seeks to justify the violence of the state by spouting the party line. Nabokov introduces both the soldier and the self-blinded ideologue in an early chapter of Bend Sinister. Returning from the hospital where his wife has just died and contemplating the unwelcome prospect of relating this news to their son, Krug is forced to pass back and forth across a bridge by the heedless but authoritarian guards of the new regime who ignore his pass, consigning him to the company of an enthusiastic convert to Ekwilism. The differences in Krug’s responses to his tormentors reflect the differences in the author’s attitude toward the two types. Krug condescends openly to the guards, the mere automatons of officiousness and potential violence, scarcely acknowledging their existence, much less their importance; when his glasses are broken in an excess of official paranoia, Krug laments openly, “[N]ow there is not much to choose between my physical illiteracy and your mental one” (p. 10). Despite their weapons, these soldiers clearly offend Krug far less than the Ekwilist mouthpiece who accompanies him on the bridge. Arendt has described the appearance of this figure – the willing dupe of propaganda – in post-World War I Germany, noting the crucial function of this “mass man’s” rationalizations in leading to Hitler’s eventual dictatorship: The peculiar selflessness of the mass man appeared here as a yearning for anonymity, for being just a number and functioning only as a cog, for every transformation, in brief, which would wipe out the spurious identifications with specific types or predetermined functions within society. War had been experienced as that “mightiest of all mass actions” which obliterated individual differences so that even suffering, which traditionally had marked off individuals through unique unexchangable destinies, could now be interpreted as “an instrument of historical progress.” (Arendt 1979, 329) The Ekwilist proselyte who accompanies Krug corresponds closely to Arendt’s “mass man,” an eager social iconoclast who freely condones murder in the name of the State, deepening absurdity into obscenity. Con32 TWO ORGAN-GRINDERS fronted by this voluble ideologue, Nabokov’s philosopher remains mute. The son and brother who so blithely replaces filial affection with membership in the Ekwilist party contrasts strongly with the grieving husband and father in this key early passage. Nabokov refers to the ideologue as Krug’s “delightful companion” – delightful not because the author in any way condones his willful moral blindness, but because this character offers a sarcastic means of magnifying the apathy, even the antipathy, of the Ekwilist toward the plight of the grieving individual. Krug has precipitated the bridge scene with a fateful declaration, “I am not interested in politics” (p. 6), a stance that reflects the author’s preference as well, but clearly not one that he or his protagonist finds it easy to maintain in this novel. The best Nabokov can do to satisfy both his specific goals for Bend Sinister and his professed scorn for politics is to emphasize the mental and spiritual repugnance of the politically-interested character. This strategy of compromise clearly dooms even the young Krug’s headmaster, who merely insists on developing general political interest in his students. A hatefully one-dimensional caricature, the anonymous headmaster serves as a simple embodiment of class theory and a contrived target for the author’s lavish, scornful wit: [The new headmaster] saw the world as a lurid interplay of class passions amid a landscape of conventional gauntness, with Wealth and Work emitting Wagnerian thunder in their predetermined parts; a refusal to act in the show appeared to him as a vicious insult to his dynamic myth as well as to the Trade Union to which the actors belonged. (p. 73) The contrivance of this stooge becomes particularly clear when his characterization in the novel is compared with the actual figure upon whom the author drew for the characterization, a headmaster of Tenishev school in St. Petersburg, which numbered the adolescent Nabokov among its students in the last few years before the revolution. Nabokov’s memories of this figure, described affectionately in his autobiography, Speak, Memory, as the “kindest and most well-meaning among [his] teachers” (Nabokov 1989c, 186), deviate sharply from the fictional version imposed on Krug. For the sake of his political message of hope, Nabokov has stripped this comparatively kind, well-meaning character of all sympathetic possibilities, consigning him to the role of a hateful pedagogical tyrant. In its relentlessly degrading characterization of the Party of the Average Man, Bend Sinister finally conveys an unmistakable sense of personal injury – the author’s personal injury. Nabokov’s need to spite Krug’s tormentors is painfully clear in a passage from the introduction: 33 BRIAN D. WALTER Is there any judgement on my part carried out, any sentence pronounced, any satisfaction given to the moral sense? If imbeciles and brutes can punish other brutes and imbeciles, if crime still retains an objective meaning in the meaningless world of Paduk (all of which is doubtful), we may affirm that crime is punished at the end of the book when the uniformed waxworks are really hurt, and the dummies are at last in quite dreadful pain, and pretty Mariette gently bleeds, staked and torn by the lust of forty soldiers. (Nabokov 1990a, xiv) The most jarring element in this passage is Nabokov’s apparently unknowing imitation of his sordid, dim-brained dictator, Paduk, who hopes to assuage Krug’s grief by parading before the philosopher the brutal punishments of those responsible for David’s death (p. 228). As an unmistakable register of his alienation from Ekwilist “justice,” Krug is entirely immune to such vengeful “pleasures,” making Nabokov’s offer to his reader of similar “consolation” all the more revealing, an unlikely and unacceptable endorsement of this often unpleasant book’s most brutal images. The author’s need to stoop to such “moral satisfaction” betrays the depth of his hatred both for his own characters as well as for the political ideologies he disagrees with. The counterpart of Nabokov’s cruelty toward Krug’s tormentors is his unprecedented (and, in subsequent works, unmatched) sympathy for Krug himself. Nabokov’s description of his role as Krug’s savior, the benevolent intruder who pulls the maddened philosopher from the narrative just before Paduk’s henchmen finally shoot him, reveals how strongly the author recoils from the power which Paduk’s dictatorship must be given over his protagonist: It was at that moment, just after Krug had fallen through the bottom of a confused dream and sat up on the straw with a gasp – and just before his reality, his remembered hideous misfortune could pounce upon him – it was then that I felt a pang of pity for Adam and slid towards him along an inclined beam of pale light – causing instantaneous madness, but at least saving him from the senseless agony of his logical fate. (p. 233) Nabokov’s novels feature numerous other victims of a senseless and agonizing fate, but no narrative deity intrudes to save Cincinnatus from Pierre or Lolita from Humbert or John Shade from Gradus. Unlike these other characters, Krug is the victim of the simplified stooges of a hateful and simplified ideology, the character Nabokov has condemned to protago34 TWO ORGAN-GRINDERS nist’s status within his most politically-committed work. As such, this Adam enjoys special pity from his author. Nabokov’s intervention on Krug’s behalf suggests a deeper subversion of his customary authorial dictatorship: the indifference of the new Ekwilist State to his philosopher’s private tragedy has replaced Nabokov’s usual indifference. William Gass has described the typical form of this authorial indifference: [Nabokov’s] characters are his clowns. They blunder comically about. Clubbed by coincidence, they trip when most passionate. With rouge on their pates and wigs on their features, their fundaments honk and trousers tear. Brought eagerly, naively near, beauty in a boutonnière pees on their faces. Like the other clowns, how we laugh at that. Pieces in the play, they live, unaware, in the world of Descartes’ evil demon, that relentless deceiver whose deceptions do not qualify, but constitute, his nature. (Gass 1989, 116) The description applies most usefully to Krug, however, only when Paduk and his minions substitute for Nabokov, villains composed of equal parts of impertinence and incompetence, bursting in on the idyllic scholarly conversation to arrest his friend Ember, or kidnapping Krug’s son just as the philosopher has discovered new inspiration for his work. The kidnapping scene in particular demonstrates the most monstrous form of Ekwilist indifference to Krug’s special plight: the complete incomprehension of the parent’s endangered and finally severed bond with his child. Restrained by the burly Mac from defending his son, Krug appeals in vain to David’s nursemaid, causing the narration to shift – in an apparent sign of authorial sympathy – from third person to first: “ ‘Mariette, do me a favour’: he frantically signaled to her to run, to run to the nursery and see that my child, my child, my child –” (Nabokov 1990a, 200). When Krug, still restrained, a moment later repeats his appeal, a confused Mariette responds with atrocious callousness – “ ‘Does anybody know what he wants of me?’ ” – and proceeds (humming, we are told), with the task of making up her lips (p. 201). Still more repulsive, however, is his indifference to Krug’s paternal desperation is Kolokololiteischikov, the excruciatingly unimaginative Ekwilist functionary in charge of Krug’s arrest. Technically a father himself, Kolokololiteischikov had been rehearsing – with his own children – the “moans of artificial pain” with which Krug was to be tortured into capitulation (pp. 212–213), a jarring illustration of the brutality to which even the most traditional filial ties are callously subjected under Ekwilism. John Burt Foster persuasively suggests that David Krug’s death recalls Macbeth and the “obliteration of MacDuff’s family in ‘one fell swoop’ ” (Foster 1995, 29), but the other Shakespearean sub-text 35 BRIAN D. WALTER here is clearly King Lear, whose main character, like Krug heedlessly ignoring the attempts of the resistance movement to help him escape, insists on a ruinous strategy that leads ultimately to the death of his child. In final compensation to his protagonist, then, for subjecting him to the monstrous indifference of Mariette, Kol, and the murderous experimenters at the Institute for Abnormal Children, Nabokov withdraws Krug in the middle of the final scene, rescuing his philosopher just before the deadliest boutonnière discharges in his face. The most subtle consequence of Nabokov’s antipathy for Krug’s tormentors and his special pity for Krug occurs in the novel’s relations with its reader. Gass points out that Nabokov typically exploits his characters for the sake of the overall comic effect, with the reader allowed, in some capacity, to be entertained by the spectacle of their predicaments, so far beyond their control – “like the other clowns how we laugh at that.” But in Bend Sinister, Nabokov clearly extends much greater control over his reader’s response: only hatred is allowed for Krug’s tormentors, and only sympathy for Krug. The measures Nabokov takes to ensure this response reveal his fear in this novel – that the reader will not respond properly to Krug’s plight, that the image of his protagonist’s personal grief will not dominate the reader’s final impression. This fear drives Nabokov to unprecedented cruelty toward the novel’s villains, and unequalled kindness toward their victim. Rescuing Krug from Paduk’s marksmen, Nabokov also rescues him from any unsympathetic reader. Nabokov vs. the plot of Bend Sinister Nabokov’s decision to distance his characters from the reader participates in a larger strategy to alienate the story itself from its audience. The message of hope in Bend Sinister, such as it is, is clearly conveyed not through any triumph Krug wins over Paduk’s dictatorship, but through the ultimate impression of the absurdity, even the unreality, of the brutal rule of the Party of the Average Man. Making this impression all the harder to achieve, Nabokov has indulged a higher degree of verisimilitude – manifested in the circulars and speeches clearly borrowed from Soviet and Nazi models – than in any of his other works. Thus, in an attempt to achieve the right mixture of realism and farce, Nabokov constantly undercuts his storyline by intruding self-consciously upon the narrative, repeatedly reminding the reader that his imagination still guides the fiction. But as Laurie Clancy has noted, the interruptions here seem to signal “Nabokov’s own instinctive dissatisfaction with the novel, a feeling of impatience” with the needs of his topic (1984, 98). The final impression is thus one of the author’s own disbelief, as if he himself cannot accept the situations imposed upon him by the design of depicting a world gone politically wrong. 36 TWO ORGAN-GRINDERS The well-known “Hamlet chapter” of the novel manifests this authorial dissatisfaction clearly. Nabokov substitutes stage directions for actual description during Krug and Ember’s dialogue, underlining his sense of the scene’s contrivance, forcing himself to “[r]elate the horror of those rehearsals” (p. 106). This last phrase suggests the author’s horror at the requirements of this passage – a rehearsal, the prelude to another appearance by Paduk’s henchmen. Ember’s impending arrest pressurizes this scene; the author soon warns himself, “Last chance to describe the bedroom,” followed immediately by the declaration, “Too late” (p. 107). These stage directions manifest the pattern that informs the plot as a whole – Nabokov slipping in the private moments of Krug’s life before the exigencies of his political horror story intrude in the form of Paduk or his representatives. The odd and highly self-conscious restraint of the arrest itself represents Nabokov’s attempt to deflect, or at least manage, the brutality of the scene. Instead of stormtroopers, Nabokov sends Linda Bachofen and Hustav, a “handsome lady in a dove-grey tailor-made suit and a gentleman with a glossy red tulip in the buttonhole of cutaway coat” to take Ember; Hustav even offers Krug his card (p. 122). Pleased with the arrest’s clever orchestration, Hustav interrupts his flirtation with Linda long enough to instruct Krug in the unwarranted artistry of an encounter that might easily – and perhaps should – devolve into physical violence: “Oh, I know what you [Krug] are going to say” – purred Hustav; “this element of gracious living strikes you as queer, does it not? One is accustomed to consider such things in terms of sordid brutality and gloom, rifle butts, rough soldiers, muddy boots – und so weiter. But headquarters knew that Mr. Ember was an artist, a poet, a sensitive soul, and it was thought that something a little dainty and uncommon in the way of arrests, an atmosphere of high life, flowers, the perfume of feminine beauty, might sweeten the ordeal. Please, notice that I am wearing civilian clothes. (p. 123) Hustav’s terms also apply to the novel as a whole. With self-conscious deviations from generic convention, Nabokov seeks to distinguish himself as still an artist, a poet, a sensitive soul, imploring the reader to notice that his political novel comes dressed in civilian clothing. He must find some way to sweeten his own ordeal as the author of Krug’s tragedy. But the despairing tone of these devices betrays the futility of an attempt to rescue the work from convention. The first interview between Paduk and Krug further manifests the author’s alienation from his story. Nabokov offers two versions of this key exchange, the first farcical, the second almost corrective, a more “realistic” version. In the first version, 37 BRIAN D. WALTER Krug chats familiarly with his former schoolmate, requiting Paduk’s habit of scrambling personal names into anagrams with his own mockery of the contrived interview. The patter continues light and fast with Paduk’s functionaries interrupting constantly to scold Krug for impoliteness to the dictator. But then Nabokov himself interrupts with, “No, it [the conversation] did not go on quite like that” (p. 147), and proceeds to describe an awkward, often silent meeting between Paduk and the philosopher, alternately amused and bemused by the terms of the dictator’s demand for his endorsement. As if bored by this second version, Nabokov calls attention to its banality: Which, of course, terminated the interview. Thus? Or perhaps in some other way? Did Krug really glance at the prepared speech? And if he did, was it really as silly as all that? He did, it was. The seedy tyrant or the president of the State, or the dictator, or whoever he was – the man Paduk in word, the Toad in another – did hand my favourite character a mysterious batch of neatly typed pages. (p. 151) Nabokov here describes his own unhappy capitulation. “He did, it was” signals the author’s acquiescence to the external needs for such a scene – the discomfitingly political needs of his design. The clear narrative discomfort of such passages betrays Nabokov’s difficulty in attempting to turn his sensibilities and talents to the task of Bend Sinister. When Ember reads from “The Real Plot of Hamlet,” an essay that explains the proper Ekwilist staging of Shakespeare’s tragedy, he not only describes a painfully polemicized view of the play, but also suggests a reading of Bend Sinister as the politically determined interpretation of what would otherwise present itself as the product of a free artistic conception. Nabokov’s impulse is to write moody, politically impotent Krug’s story, to insult historical determinism and ideological common sense by refusing to subject his bereaved philosopher to the revolutionary success of the Ekwilist dictator – intellectually and spiritually quite incidental, no matter how physically dangerous. But Nabokov has set out to compose a message of political hope, and, fundamentally alien though that design may be, he pursues it doggedly, embodying what this design has boded. The constant undercutting of the narrative represents his only means of rebellion against the unwonted compulsion of his design. This pervasive narrative slipperiness ultimately functions to destabilize the act of reading Bend Sinister. Nabokov never allows the reader any sure grasp on the narrative, defamiliarizing or even snatching away a scene immediately upon describing it. The reader is never to become comfortable with the story of Krug’s grief – or at least no more comfortable with it than the author finds himself to be. This discomfiting quality of Bend Sin38 TWO ORGAN-GRINDERS ister differs fundamentally from the playful elusiveness that characterizes most of Nabokov’s work. His novels love to play cat-and-mouse, challenging the reader to a chase through a hedge of allusions, complex syntax, and various structural tricks to get at the often rather simple story. But in Bend Sinister, the hedge is replaced by a thicket of angry narrative selfconsciousness, the overgrowth of the author’s own distaste for his rather simple political story – a barrier imposed before the reader as well. Nabokov vs. the reader of Bend Sinister? Near the end of his foreword to Bend Sinister, appended to explanations of several of the novel’s innumerable allusions, Nabokov sets the reader’s likely perception of the book directly against his own. The passage manifests not only Nabokov’s much-discussed concern with the sanctity of the artist’s vision, but also his crucial concern with the reader’s understanding of his work: Most people will not even mind having missed all this [the allusions]; well-wishers will bring their own symbols and mobiles, and portable radios, to my little party; ironists will point out the fatal fatuity of my explications in this foreword and advise me to have footnotes next time. . . . In the long run, however, it is only the author’s private satisfaction that counts. I reread my books rarely, and then only for the utilitarian purpose of controlling a translation or checking a new edition; but when I do go through them again, what pleases me most is the wayside murmur of this or that hidden theme. (p. xviii) Written in 1963, sixteen years after the novel’s first American publication, but only a year after the publication of Pale Fire had cemented the popularity Nabokov first enjoyed with Lolita, this author’s introduction hopes to guide the reader to appreciate the same “hidden” themes in Bend Sinister. It represents Nabokov’s transparent attempt to control not a new translation, but his reader. Failing of such control, Nabokov resorts to designating his readers the novel’s “well-wishers,” harmless spectators of his Krug’s nightmare – a gesture of protection to precede the narrative itself. The internal tension of Bend Sinister, its discomfort with itself, finally grows from this latent tension between Nabokov and his reader. In his review of the novel, Frank Kermode (1962) in fact argued that its author betrays hostility toward his reader, and, further, that this hostility is a fundamental problem in Nabokov’s work. Kermode’s point is well-taken in the case of Bend Sinister. Concerned to deliver his message in highly personalized terms, Nabokov simply will not allow the reader to participate 39 BRIAN D. WALTER in this story, to share his relations with Krug, in the way that he admits entrance into, for instance, Invitation to a Beheading. On the surface, at least, Cincinnatus’s plight is as horrible as Krug’s, but his story of imprisonment and execution is still made available to the reader in a way that the tale of Krug’s losses is not. Nabokov seems, as Kermode suggests, to feel his intelligence insulted by the project of Bend Sinister, and thus redirects the insult toward his reader in the form of a painful, distancing lesson in the horrors of the totalitarian state. Fortunately for Nabokov, it certainly overstates the case to impute this scorn for the reader to all his work. His novels may not trust their readers, testing their motivation for reading, for instance, by warning from the outset that the protagonist will finally, inescapably, be sacrificed before their eyes. But for the readers who pass this and similar tests, for those who latch onto the hidden murmurs and wayside themes the author has planned as their lead attractions, the novels harbor only affection and gratitude. The great possibility in Nabokov’s work for affection between the author and his reader is often missed by his critics. Nabokov’s work only asks its reader to play his game to receive its various and abundant rewards. Even in Bend Sinister, with as dour an impression as it tends to make, Nabokov plans rewards for the patient reader. The list of the author’s favorite themes in the foreword serves a dual purpose: as a shield against historical and political readings but also as a guide to the novel’s bright spots, a preview of coming attractions. The urgency of this dual purpose informs the entire author’s introduction to Bend Sinister – easily the longest Nabokov has attached to any of his novels. Boyd has characterized the prefaces to the novels as “part of the irascible and arrogant Nabokov persona, in part a game, a parody, a running joke” (Boyd 1991, 477) – playful protective devices designed to put off any reader so inclined. But the notable length of Bend Sinister’s preamble, coupled with the pains – unusual even for Nabokov – taken to ensure the reader’s “proper” appreciation of this book, together suggest both a greater urgency to, and deeper concern for, its project. The introduction to Bend Sinister stands with the author’s afterword to Lolita as Nabokov’s most extensive comment on his own work, a telling link. Just as Nabokov feels compelled to defend at considerable length his most controversial novel from the charge of pornography, he cannot release Bend Sinister to the reader without shielding it – at least partially – from itself, from its highly-complicated designs on a message of hope. The reader thus falls in line behind the artist, the poet, the scientist, and the child on the list of the victims and witnesses of Krug’s world gone wrong. Much as the prospect of the competing organ-grinders leaves especially the onlooking children confused and disappointed, the daunting duality of Bend Sinister leaves the reader in a state of perplexity – engaged, perhaps, but not enthralled by the work of the author’s discontent. 40 Part II DISCOURSES OF GENDER AND SEXUALITY 3 OKRYLYONNYY SOGLYADATAY – THE WINGED EAVESDROPPER Nabokov and Kuzmin Galina Rylkova (Nabokov [1929] 1979, 225) To Alfred Appel’s question – “In which of your early works do you think you first begin to face the possibilities that . . . reach an apotheosis in the ‘inviolate abode’ of Pale Fire?” – Vladimir Nabokov gave the least expected answer, “Possibly in The Eye . . .” (Nabokov 1973, 74). Up to now, scholars have usually evoked this famous reply in the concluding portions of their studies on Soglyadatay [The Eye] (1930), to justify a preoccupation and fascination with this lesser known novel by Nabokov. However, there is still much more to be said about this underrated work which indeed marks a turning-point in Nabokov’s writing and provides an insight into the makings of his Weltanschauung, which was shaped at the time when this novel was in gestation. In the late 1920s and early 1930s, although steadily turning into one of the most prominent (and certainly one of the most publishable) Russian émigré writers, Nabokov was nevertheless subjected to severe criticism. Uncertain how to classify his works, critics labeled them poor imitations of French and German originals. Sirin-Nabokov rapidly gained the reputation of a trickster, seeking cheap success with his readers. Georgiy Ivanov, whose review of Sirin’s King, Queen, Knave, The Defense, and 43 GALINA RYLKOVA The Return of Chorb appeared in the first issue of the Parisian Chisla, described his works as “trite, banal, not lacking in virtuosity, however,” and lamented about “our wretched critics” and “undemanding reading public” who contributed to the success of the “Sirins” of this world (Ivanov 1994, 524–525). Ivanov portrayed Nabokov as “an impostor” and an outcast, who could not possibly belong to the great Russian tradition.2 If in the earlier years of his career, suffering from the imposed loss of his motherland and the tragic death of his beloved father, Nabokov found refuge in writing patently imitative works of poetry (Bethea 1995), in his maturity he claimed decidedly unconventional sources of inspiration. Thus in Dar [The Gift] (1938) Nabokov’s alter ego, Fedor GodunovCherdyntsev, insists on “borrow[ing his] wings” of artistic inspiration “from conversations with [his] father, from daydreams in his absence, from the neighborhood of thousands of books full of drawings of animals, from the precious shimmer of the collections, from the maps [and] from all the heraldry of nature and the cabbalism of Latin names . . .” (Nabokov 1991, 115). Notwithstanding these claims, one should not ignore another possible supplier of Nabokov’s “wings,” namely the famous fin-de-siècle writer and poet Mikhail Kuzmin (1872–1936), whose novel Kryl’ya [Wings] was successfully appropriated by Nabokov in The Eye. It is the purpose of this chapter to offer explanations for Nabokov’s interest in Kuzmin’s “legacy” in the early 1930s. I will show how different thematic blocks, collisions, and motivations for the actions of the characters in Wings were melted down by Nabokov into The Eye. Moreover, I will demonstrate how his literary “affair” with Kuzmin gave birth to Nabokov’s archetypal character – an ambivalent, sexually inverted, émigré loner – whose strivings and misfortunes became the main focus of most of his subsequent works. Why Kuzmin? When Kuzmin’s novel appeared in literary Vesy in 1906, it brought its author “instant fame and notoriety” (Malmstad 1977, 99). This was not fortuitous. In his work Kuzmin not only failed to portray homosexuals as doomed and tragically misunderstood (as would have been expected), but came up with a picture of a homoerotic paradise, readily accessible to those who so desired. Having gone through a number of trials and tribulations, the young homosexual Vanya Smurov is gradually led to understand that there is nothing unnatural or perverse in any activity in itself: “[w]hat is important in every action is one’s attitude toward it, its aim and also the reasons behind it; actions in themselves are merely the mechanical movements of our bodies and cannot offend anyone, much less the Good Lord” (p. 107).3 Smurov’s maturation is presented as a spiritual journey, by the 44 OKRYLYONNYY SOGLYADATAY end of which he comes to appreciate love and beauty (Shmakov 1972; Harer 1992). The publication of Wings became a significant event in the cultural life of Russia in the 1900s, giving rise to various debates and discussions. The impact of the novel on the reading public was equivalent to that of Chernyshevsky’s What is to Be Done? (Blok 1931, 135). Thus, upon his return to Russia from France, the artist Aleksandr Benua attributed the disturbing changes that he found in his friends – they were no longer concealing their homosexuality – primarily to the influence of “new young people” like Kuzmin (Benua 1990, 477). However, despite his popularity – often scandalous – Kuzmin was largely misunderstood by his contemporaries; because of the deceptive “lightness” (or as Markov puts it, “non-vodka-like quality” [1977, 409]) of his poetry and works of prose, he was often assessed as a second-rate author, whose works belong to the literary salons. For many of his readers, Kuzmin became the symbol of “art for art’s sake” – an unrewarding position within the literary tradition, the main virtue of which has been seen as that of educating and guiding its readers, rather than of entertaining and amusing them. Interestingly, the husks of these accusations were articulated twenty years later by the very same Georgiy Ivanov who criticized Nabokov, in the section of his pseudo-autobiographical Peterburgskie zimy [Petersburg Winters] devoted to Kuzmin. This collection of feuilletons was published in Paris in 1928 and it is very likely that Nabokov was familiar with it. Kuzmin is presented as a light-weight author whose talent came in handy when the “progressive” reading public got weary after the outburst of Russian Symbolism and demanded simplicity. Ivanov’s Kuzmin is more concerned with his wardrobe than with what to write or how to write; he writes effortlessly and mindlessly and sends his works off to the publisher immediately – “why bother rewriting them – my handwriting is impeccable,” he confides in Ivanov (Ivanov 1994, 98–108). Ivanov’s critique of Kuzmin was part of a larger campaign against the cultural legacy of the Russian Silver Age (1890–1917) and everything it stood for (unprecedented diversity in themes and approaches, individualism, and the decisive lack of traditional moralizing) launched by Vladislav Khodasevich and carried on by the younger literati Yuri Terapiano and Nikolay Otsup. If Khodasevich in his 1928 article “The End of Renata” attested soberly to the ultimate failure of the Symbolist “life-creating” project (1996, 19–29), then Otsup and especially Terapiano were even more aggressive in their advocacy of simplicity and paucity both in lifestyle and as an aesthetic principle. In his article “A Man of the 1930s” Terapiano propped up his denunciation of the cultural legacy of his immediate predecessors in favor of Lev Tolstoy by the all too familiar notion of one’s duty to adhere to the “truth” both in life and in art, arguing that a man of 45 GALINA RYLKOVA the thirties “has learnt to distrust himself [and therefore] demands telling the truth about himself, [being always] severe and earnest [with himself]” (1933, 211). In such an austere environment, openly hostile to any artistic activity that was not pursuing indentifiable ideological purposes, the “lightweight” Kuzmin (with his legendary inability and unwillingness to adhere to any particular school or movement) should have appeared a perfect father-figure to a seemingly fatherless and rootless aesthete like Nabokov.4 Nabokov and Kuzmin were first paired by Andrew Field (1963) and later by Gennadiy Shmakov (1982) and Vladimir Markov (1984). The similarities adduced to bring these two authors together are, however, very general in nature. Kuzmin and Nabokov are matched either because of their shared disregard for the didactic, ideological function of literature or because of stylistic innovations which they appear to have had in common. Nabokov himself never made any open statements of his attitude to Kuzmin’s oeuvre. Kuzmin’s name is not listed in the indices of books written by or about Nabokov. The links between Nabokov and Kuzmin are, however, much closer than would appear at first sight. John Barnstead (1986) has exposed a complicated system of references to Kuzmin’s various works in Nabokov’s short story “Lips to Lips” (1929/1931). In a footnote to his paper he also mentions that the name of the protagonist in Kuzmin’s Wings, Vanya Smurov, reappears in Nabokov’s The Eye, but is split between two characters: Smurov, the protagonist, and the girl he loves, who bears the nickname Vanya (Barnstead 1986, 59n). In fact, the last name of Kuzmin’s protagonist comes from Dostoevsky’s The Brothers Karamazov: Smurov is a little left-handed boy befriended by Alyosha.5 His first name is never revealed to the reader, so the combination “Vanya Smurov” is unmistakably Kuzminian. Nabokov cunningly preserves references to both literary sources: his Smurov is described by one of the characters as a “sexual lefty” [seksual’nyy levsha] (p. 85).6 Allusions to Kuzmin in The Eye can be discerned, but they are camouflaged, which probably explains why Kuzmin’s name, apart from the footnote in Barnstead’s article, has not been mentioned in connection with this novel. In giving the name “Vanya” to the object of Smurov’s unrequited love, Nabokov provides it with an etymological explanation. The girl is reported to be nicknamed “Vanya” as a result of her “demand[ing] to be called ‘Mona Vanna’ (after the heroine of some play or other)” (p. 37). Another allusion that is intentionally left open to different interpretations occurs when Smurov’s mistress, Matilda, invites him home to borrow the book, Arianne, Jeune Fille Russe [o kakoy-to russkoy devitse Ariadne] (p. 15). This has been identified by Barton Johnson as the novel written by Jean Schopfer, but in Johnson’s words, “does not seem to have thematic implications for The Eye as a whole” (1985, 399–400). The pairing of Matilda and Ariadne, though, brings to mind Kuzmin’s Tikhiy strazh [The 46 OKRYLYONNYY SOGLYADATAY Gentle Knight], written in 1915 and reprinted by “Petropolis” in 1924.7 In this work, the longing of a dying Matilda Petrovna for her son is mockingly compared to the suffering of the mythological Ariadne, deserted by Theseus (Kuzmin 1994, 397).8 Each of the three opening paragraphs of The Gentle Knight starts with the name Matilda, which is rare to a Russian ear. This section tells of Matilda’s burdensome love for her son. Nabokov evokes the general mood of Kuzmin’s original in the following passage that comes near the beginning of The Eye: Matilda, who would inquire coyly if I wrote poetry; Matilda, who on the stairs or at the door would artfully incite me to kiss her, only for the opportunity to give a sham shiver and passionately whisper, “You insane boy . . .”; Matilda, of course, did not count. (pp. 17–18)9 Nabokov’s depiction of the relationship between Smurov, Matilda, and her husband Kashmarin (which frames the “main” story) also sets The Eye in an unmistakably Kuzminian context. Here is the gist of what happens. Having learnt of Matilda’s infidelity, Kashmarin loses control and beats Smurov up. Humiliated, Smurov attempts suicide. Kashmarin, however, finds out that Smurov was not his wife’s first – or even last – lover, divorces her, and puts his energy into looking for his former rival. Not only does he succeed in locating Smurov, he also offers him his guidance and protection with the possibility of future trips to Italy. Smurov accepts Kashmarin’s proposal with gratitude. A situation similar to this one is described by Kuzmin in his novel Plavayushchie-puteshestvuyushchie [Travelers by Land and Sea] (1915),10 in which the two former contestants for the attention of a woman finally see through to her “shallowness” and develop a special relationship between themselves. In Kuzmin’s fictional world, a conventional love-triangle (two men competing for one woman) is turned upside down, and it is usually a man and a woman who both fancy one man.11 Similar love-triangles are outlined in Wings. Vanya has to compete for Stroop’s attention, first, with the “absolutely revolting” Nata, and then with the more sophisticated Ida Goldberg. One of the striking things about The Eye is the photographic quality of its fictional world. The characters are either shown as if posing for the taking of a picture or are perceived by the narrator as static photographic images. In The Eye the world of the photograph takes precedence over “real” life. It is not the photograph which reflects everyday life but vice versa. For example, Smurov breaks into Vanya’s apartment in order to see whether she still cherished the picture that showed him and her together. He starts suspecting that his love is unrequited not because his common sense tells him so, but because he finds himself missing from that picture – Vanya has carefully cut him out. Incidentally, Georgiy Ivanov remarked in 47 GALINA RYLKOVA 1928 that Kuzmin’s “treacherous ‘beautiful clarity’ [prekrasnaya yasnos] was responsible for imparting a lifeless-photographic quality to the meaningless ‘jabber’ of his uninteresting characters . . .” (Ivanov 1994, 101–102). As this brief analysis shows, the Kuzminian subtext in Nabokov’s The Eye, although obscured, is, nevertheless, recoverable. Although Nabokov was most unlikely to have been aware of this, the title of his novel, Soglyadatay (translated by Nabokov himself as The Eye), comes from Kuzminian vocabulary. In May 1906 – a few months prior to the publication of his Wings – Kuzmin wrote in his diary about one of the soirées at Vyacheslav Ivanov’s: (Kuzmin 1986, 417) I suddenly felt weary of not loving anyone here (not really being in love) and, most importantly, of nobody loving me, and of my being a sort of unwanted eavesdropper. Nabokov’s Smurov combines the distinctive characteristics of both writers. Like Nabokov he is a Russian émigré and works as a tutor for a Russian family in Berlin. Like Kuzmin he is endowed with an effeminate appearance. “[H]is frailness, his decadence, his mincing gestures, his fondness for Eau de Cologne, and, in particular, those furtive, passionate glances” that he allegedly directs at men, convince one of the characters that Smurov is a homosexual (p. 85). Both Kuzmin and Nabokov contributed – not without the help of others – to the creation of the myth about their Doppelgänger personalities.12 Kuzmin, for instance, claimed that his “I” comprised three different personae (Bogomolov and Malmstad 1996, 96–97). With Nabokov’s Smurov, the myth of the elusive soul reaches its apogée; there are as many different Smurovs as there are different people who come into contact with him. Each of the passers-by goes away with his own unique image of Smurov. Nabokov’s Bildungsroman tells of Smurov’s learning to cope with his scattered personality. The Bildungsroman Like Wings,13 The Eye belongs to the genre of the Bildungsroman. A typical Bildungsroman recounts the story of the moral development of an initially unsophisticated protagonist – often an orphan – who eventually 48 OKRYLYONNYY SOGLYADATAY finds his place in life. Following the literary canon, both Smurovs unexpectedly find themselves in an unknown, even hostile, environment. The mother of Vanya Smurov in Wings dies suddenly, and he is looked after, first by his mediocre relatives from St. Petersburg, next by some Old Believers, then by a teacher of Greek, and, finally, he is left under the protection and guidance of the Russified Englishman, Stroop. Nabokov’s Smurov not only loses all of his relatives, but is forced to emigrate, and – on the one hand – to live among indifferent Germans, and – on the other – to be in touch with equally detached and suspicious compatriots. Kuzmin’s Bildungsroman was written in the heyday of the Symbolist movement and was informed by the conception, popular among Russian Symbolists, that the ultimate goal of enlightened men and women should be not procreation but continuous striving towards spiritual rebirth or resurrection. In this context, homoerotic love (as a form which denied procreation) was seen as an effective vehicle in the process of accelerating this rebirth (Matich 1994, 24–50). In agreement with this theory, Vanya’s advancement in life is shown metaphorically as the development of a fetus within the mother’s womb. The novel opens with Vanya’s traveling from the province to St. Petersburg in a train car with “misted windows” and concludes with his famous opening of the window in Canon Mori’s house. The open window shows the reader that Vanya is reborn as a “completely transformed being,” who accepts the role of Stroop’s companion and beloved one. In the greater portion of the book, however, Vanya sits snugly in rooms with windows closed or even moves into the dark cellar with the Old Believers. This, apparently, stems from Vanya’s unwillingness to part company with the comfortable protection of the womb; the second birth – admission of one’s homosexuality – is not all roses. At one point in the story, Nabokov’s Smurov also feels the need to return and hide himself in a well-sheltered space. Having been severely beaten by Kashmarin, Smurov decides to take his own life. He delays his decision, however, and resolves “for five minutes at least, to sit in safety,” and goes “to his former address” [tuda, gde zhil ran’she] (p. 25). Smurov’s desire to return to the place where he lived previously, together with the description of “the familiar room” cluttered with various vessels that the landlady keeps filling up with water for no particular reason, is suggestive of his craving to re-enter his mother’s womb. Nabokov’s Smurov commits suicide in the outer darkness, and the last thing that he remembers is “a delightful vibrating sound . . . It was immediately replaced by the warble of water, a throaty gushing noise. I inhaled, and choked on liquidity; everything within me and around me was aflow and astir” (p. 28). The flowing water is reminiscent of the breaking of uterine water. Subsequent mention of Smurov’s “incomprehensible sensation of tight bandages” and the fact that he finds himself surrounded by 49 GALINA RYLKOVA neighbors (“mummies like [himself]”) bring to mind not only “the semblance of a hospital” but, more precisely, that of a maternity ward (p. 29). Nabokov, however, stages the “resurrection” of his Smurov in the first, and not in the final chapter, as might have been expected. By doing this he strips this act of its symbolic and philosophical implications. The second birth is presented not as a desired culmination – the outcome of the character’s moral revival – but only as a motivation of the plot. The platonic theme As Donald Gillis has shown (1978), Kuzmin’s discourse on homoerotic love echoes the second speech of Socrates in Plato’s Phaedrus about the nature of the relationship between the “lover” and his “beloved.” For the sake of “simplification,” Socrates describes the soul of the lover as a charioteer in charge of two horses. One horse is beautiful in appearance and is always obedient: “it is a lover of honor . . . It needs no whip but is driven simply by a word or command” (Phaedrus 253D). The other – the epitome of lust – is, therefore, “crooked in conformation . . . deaf and barely responds to a combination of whip and goad” (253E). When the lover first sees the beloved, he is overcome with lust and the charioteer has a difficult task taming his obstinate horse. Gradually, however, the lover learns to rid himself of his unbecoming, base emotions, and his efforts are amply rewarded. The lover is allowed to take “care of all his darling’s needs and treats him like an equal of gods . . . and the darling himself naturally becomes a friend to the one who cares for him” (255A). Socrates speaks mainly about the actions of the lover, who first starts growing wings himself – as a result of contemplating the beauty of his darling – and then returns “the stream of beauty” to the beloved, thereby helping his soul to regain its wings too (255C–D). In Wings Kuzmin chose to elaborate on the story of the beloved, which is only briefly outlined by Socrates. In Socrates’ speech, we learn that the beloved was initially convinced by his friends that it is shameful to be associated with his lover. Similarly, Vanya Smurov also has to see through all the “false” accusations against Stroop (for instance, Stroop’s alleged responsibility for Ida Goldberg’s suicide), “and as time goes along destiny and increasing maturing lead him to accept” Stroop as his lover (Phaedrus 255A). The relationship between Smurov and Kashmarin in Nabokov’s story has all of the necessary platonic ingredients. Kashmarin at first is described as “savagely jealous” and as a likely owner of rolling eyes, who “gnash[es] his teeth and breath[es] heavily through the nose” (p. 16). His portrait evokes the description of Plato’s “bad” horse with “bloodshot eyes.” Smurov’s only recollection of their first encounter was Kashmarin’s “heavy bright-knobbed cane with which he would tap on the floor” (p. 14). When they meet for the second time, Kashmarin allows his emotions to overtake 50 OKRYLYONNYY SOGLYADATAY him, he refuses to shake hands with Smurov and beats him up instead. Kashmarin’s repeated thrusting of a “thick black cane” at Smurov in the presence of the two boys, eagerly condoning his violence – “[t]here he was, teeth bared, cane upraised, and behind him, on either side of the door, stood the boys” – is suggestive of a gang-rape, with the stick as a phallic instrument (p. 23). In the last scene, however, we are introduced to a totally different Kashmarin. Not only has he parted company with his gruesome stick, but he humbly begs Smurov for his forgiveness: “I’m trying to apologize for my vile temper. I couldn’t live at peace with myself after our – uh – heated discussion. I felt horrible about it” (p. 101). Encouraged by the silent approval of Smurov, who blushes like a boarding-school girl, hiding his face in a bunch of flowers, Kashmarin invites Smurov to see him the next day at the Hotel Monopole14 to discuss their future arrangements. This episode is almost an exact replica of a similar scene between Stroop and Vanya in the concluding portion of Wings. The “lovers” express their gratitude to their “beloved ones” in almost identical words: “I am so grateful that you agreed to come,” says Stroop . . . (p. 107); Kashmarin exclaims, “I’m so glad, so very glad I ran into you” (p. 102). Both Stroop and Kashmarin urge their “beloved ones” to give them definite answers by the next afternoon and morning, respectfully; and while Stroop and Vanya are already living in Italy – a Mecca for Russian homosexuals – Kashmarin reassures Smurov that “trips to the Riviera and to Italy are not to be ruled out” (p. 102). Kashmarin – despite all the evidence of his spiritual growth – is, however, nothing but a parody of a genuine platonic lover like Stroop. He appears briefly only at the very beginning and the very end of the novel and, in Smurov’s words, is important only as a bearer of “yet another image” of himself (p. 102). One-third of the way through The Eye, however, we learn from the narrator that he is seriously engaged in spying on Smurov. He sits back in the same room as Smurov and eyes him shamelessly. Smurov produces a strong and lasting impression on the narrator: He was not very tall, but well proportioned and dapper. His plain black suit and black bow tie seemed to intimate, in a reserved way, some secret mourning. His pale, thin face was youthful, but the perceptive observer could distinguish in it the traces of sorrow and experience. His manners were excellent. A quiet, somewhat melancholy smile lingered on his lips. He spoke little, but everything he said was intelligent and appropriate, and his infrequent jokes, while too subtle to arouse roars of laughter, seemed to unlock a concealed door in the conversation, letting in an unexpected freshness. (p. 40) 51 GALINA RYLKOVA The enchanted narrator resolves to continue spying on Smurov and his eyes tell him that Smurov was “obviously a person who, behind his unpretentiousness and quietness, concealed a fiery spirit” (p. 43). The statements of the “observing” narrator betray at first that he is not totally indifferent to Smurov – “I definitely liked him” (p. 44) – then, that he becomes addicted to his “espionage” to the point of admitting that he has been experiencing “an excitement new [to him]” (p. 59). The narrator creeps behind Smurov like a shadow. He peeps at him in the bookstore, “I see him . . . behind the counter in his neat black suit, hair combed smooth, with his clean-cut, pale face” (p. 49); then he listens to Smurov’s breathtaking adventures in the Crimea. Even after learning of Smurov’s deficiencies – Smurov is a proven liar – he cannot stop regarding him with affection. The bizarre behavior of Nabokov’s narrator is explicable in the light of the same theory that informed the behavior of Kuzmin’s characters; that is, Plato’s theory of love. Contemplation of any form of beauty – particularly that of a beloved one15 – is an essential means of achieving immortality in Plato’s myth of the winged soul, “for sight is the keenest of the sensations coming to us through the body” (Phaedrus 250D). At the sight of his beloved, the lover is awestruck, as though he were gazing upon a god [. . .] He is warmed by the effluence of beauty he receives through his eyes, which naturally moistens the wing-feathers. As he grows warmer, the follicles, which had earlier hardened and closed so that the feathers could not sprout are softened; and as the nourishing moisture flows over them, the shafts of the feathers swell and begin to grow from their roots over the entire form of the soul, which was feathered all over before [. . .] The soul of the one who is beginning to sprout feathers itches and is irritated and excited as it grows its wings. (251A–C) It does not take too long for the reader to realize that Smurov and the narrator are, in fact, one person. Smurov–Narcissus The narrator’s love for Smurov is called narcissism. As Irina Paperno shows, the story of the fair-haired Greek youth Narcissus – who fell in love with his own reflection – was extremely popular with Kuzmin (1989, 60). At the beginning of Wings, Vanya’s behavior is clearly reminiscent of that of Narcissus. Twice he is shown absorbed in examining his own reflection in the looking-glass and each time it coincides with someone’s mentioning the name of his future lover, Stroop, who at this point remains 52 OKRYLYONNYY SOGLYADATAY a complete stranger to Vanya. Later, with the development of their mutual attachment and attraction to each other, he stops looking in the actual mirror, and relies on Stroop to provide him with the needed reflection, for, in Plato’s words, the beloved “is seeing himself in his lover as in a mirror” (Phaedrus 255D).16 Psychoanalysts would describe Vanya’s narcissism as “primary,” typical of any child’s normal development (Freud 1991, 18–19). When Vanya matures, his feeling of self-contentment gives way to the growing need for another male person – Stroop. Stroop, as we are told, “values [Vanya’s] heart’s noblest aspirations, [and] will never deny [him] his understanding and affection” (p. 74). With Nabokov’s protagonist, the situation is totally different. Being a penniless and friendless Russian emigrant in Berlin, he lives under constant stress. He lacks confidence and is lonely. He looks in the mirror once, but the sight of “[a] wretched, shivering, vulgar little man in a bowler hat” is repulsive to him (p. 26). The little man commits suicide, giving birth to the mysterious Smurov and his shadowy admirer. Not being adequately loved, Smurov goes through yet further fragmentation. The fact that the name of Kuzmin’s character – Vanya Smurov – is broken down by Nabokov into an attractive girl, Vanya, and Smurov-the-narrator, can be seen as a typical instance of Nabokov’s playing games with his readers. On the other hand, it can be viewed as the ultimate proof of Smurov’s self-fragmentation. In the long run, it is not the reader who is deluded, but Smurov himself, who – because of the missing or misleading mirrors – remains unaware of his outlines, confusing Vanya with his missing half. At the end of the story, however, both men are happily reunited: As I pushed the door, I noticed the reflection in the side mirror: a young man in a bowler carrying a bouquet, hurried towards me. That reflection and I merged into one. I walked out into the street. (p. 97) Only his falling in love with himself finally makes Smurov “invulnerable” to the threats of the outside world: “[w]hat does it matter that I am a bit cheap, a bit foul, and that no one appreciates all the remarkable things about me – my fantasy, my erudition, my literary gift . . . I am happy that I can gaze at myself . . .” Thus he conveniently readjusts Plato to his own needs (p. 103).17 It is no accident that Nabokov’s Bildungsroman about Narcissus’s quest for identity was fashioned after Kuzmin’s Wings – the story about the moral development of a homosexual. What Nabokov’s “emigrant” and Kuzmin’s “homosexual” do have in common is their isolated position with regard to the rest of society.18 In many ways, Nabokov’s Smurov is the same Vanya Smurov from Wings, but placed in the context of an emigrant. While Kuzmin’s Smurov gradually comes to grips with his “estrangement” 53 GALINA RYLKOVA from society by reaching out for similarly oriented people; in order to survive in extreme conditions (like being uprooted and living in a foreign country), Nabokov’s Smurov directs his love totally toward himself. If for Kuzmin’s Smurov narcissism is only an intermediate stage in his growing up, then for Nabokov’s Smurov it is the only state which allows him to sustain his integrity and survive. Smurov’s behavior is in accordance with Freud’s observation that a person’s “narcissistic attitude” increases his/her resilience and diminishes his/her “susceptibility to influence” (1991, 3). Narcissism – love of oneself – is in many ways similar to homoerotic love, because in both situations the lover and the beloved are of the same gender. In his seminal study, “On Narcissism: An Introduction” (1914), Freud suggested that narcissism often accompanies what he terms “other disorders,” like homosexuality (1991, 3, 18). Freud was not alone in this assumption. In the 1910s and 1920s a number of scholars (Löwenfeld, Rank, and Sadger among others) believed in a direct correlation between homosexuality and narcissism. Sadger, for example, described homosexuality as “the narcissistic perversion par excellence” (Ellis 1936 III/2, 363–364). It is most unlikely that Nabokov can have been totally unaware of these discussions. It is noteworthy that in their discussions of narcissistic traits, the scholars drew their conclusions both from their work with actual patients and from analyses of literary texts.19 Science and literature were going hand in hand in their construction of the twentieth-century myth of Narcissus.20 It will suffice to mention that in The Eye Nabokov explored the traumatic effects of emigration on the mental state of a young person – which he would know only too well himself 21 – long before the famous revelations of Heinz Kohut, who showed that any “external shifts, such as moves from one culture to another; from private life into the army; from the small town to the big city” are traumatic to one’s ego and serve as a precondition for one’s growing need of exaggerated love for oneself (1978, 623).22 Conclusions As this chapter shows, The Eye is, in many ways, a product of Nabokov’s transferal of Kuzmin’s Wings into the cultural setting of the late 1920s and early 1930s. Both authors were exploring a similar theme – alienation – but in different contexts: the context of Russia at the turn of the century for Kuzmin, and the context of emigration for Nabokov. By creatively appropriating one of the important cultural texts of the preceding tradition, Nabokov was able not only to “write back” to its opponents but also to rid himself of imitative features, unavoidable at the stage of apprenticeship, and glide smoothly into a more gratifying craftsmanship. The Eye is a perfect example of what Thomas Greene has termed “heuristic imitation”: “Heuristic imitations come to us advertising their derivation from the subtexts they carry with them, but having done that, they proceed to 54 OKRYLYONNYY SOGLYADATAY distance themselves from the subtexts and force us to recognize the poetic distance traversed” (Greene 1982, 40; original emphasis). Hence, Nabokov’s discourse of alienation was informed not only by the mythology of the Silver Age (via Kuzmin), but by the contemporary discourse of narcissism as a scientific phenomenon, and by his own experience as an emigrant.23 The result of such amalgamation was a literary character that later became the hallmark of Nabokov’s fiction. Smurov is the first lonely “sexual lefty” among Nabokov’s numerous “perverted” characters. A happy homosexual couple from Mashen’ka [Mary] (1926) is an exception rather than the rule. Latent or evident perversion of any kind in Nabokov’s characters – such as Sebastian Knight, Charles Kinbote, Humbert Humbert, to name but a few – appears to be a product of their social isolation, and not the other way around. For certain, in The Eye, Smurov’s narcissism and alleged homosexuality are unequivocally presented as a direct consequence of his enforced emigration and alienation. Suffering from finding himself in the unrewarding position of a rootless Russian emigrant in a hostile Berlin, Smurov does not feel himself at home in the company of his compatriots. His pupils openly dislike and despise him. The owner of the book shop, Weinstock, seriously believes that Smurov is a Soviet spy, while Vanya’s family strive to expose him as a liar or a petty thief. It is only after having been irrevocably rejected by Vanya that Smurov throws himself under Kashmarin’s protection. Latent homosexuality, therefore, becomes, for Nabokov, an additional marker of the emigrant-outsider, signaling his exceptional position vis-à-vis an unfriendly environment. Notes 1 I wish to thank V. Ambros and C. J. Barnes and the anonymous reviewers for their helpful comments on this chapter. I had finished writing this chapter by summer 1996 and was unaware that Olga Skonechnaia was exploring Kuzminian subtexts in Nabokov at the same time: see her “Liudi lunnogo sveta v russkoi proze Nabokova.” Zvezda 11 (1996): 207–214. “To take a deep breath and up to the shoulders // place my stretched arms in the wings,// [then] from the windowsill to slide into the air // and fly despite [the laws of] science [. // . . .] I am afraid I’ll not survive the flight . . . // No, I’ve survived. I sit on the floor in darkness, // I am dazzled, and there is a buzzing in my ears, // and a blissful ache in my shoulders.” (Unless otherwise indicated, translations from Russian are my own.) 2 Ivanov’s opinions were shared by Georgiy Adamovich and the MerezhkovskyGippius circle (Berberova 1996, 286). 3 All quotations from Wings are from Kuzmin (1980); page references are given in parenthetical notes in the text. 4 There was also a family connection through Nabokov’s latent identification 55 GALINA RYLKOVA 5 6 7 8 with the author of the first Russian novel about homosexuals. In the early 1900s Nabokov’s father, Vladimir Dmitriyevich (a recognized authority on criminal law), argued on many occasions for the decriminalization of homosexuals, maintaining (not unlike Kuzmin) that “homosexuality was neither inherently abnormal nor morally reprehensible” (Engelstein 1994, 67–71). V. D. Nabokov’s interest in homosexuality was not purely theoretical, for many members of his family, including his son Sergey, were homosexual. See Timofeev’s explanation as to why Kuzmin used the name of Dostoevsky’s character in his book (1993). All quotations from The Eye are from Nabokov (1966); page references are given in parenthetical notes in the text. “Petropolis” reprinted the following of Kuzmin’s works at the time when Nabokov moved to Berlin: Seti (3rd edn, 1923): Plavayushchie-puteshestvuyushchie (3rd and 4th edn, 1923): Kryl’ya (4th edn, 1923) and Glinyanye golubki (2nd and 3rd edn, 1923); see Malmstad 1989, 178 n7. Matilda’s parting with her husband and her immediate starting of an affair with Smurov evokes the reckless tone of Kuzmin’s poem “Ariadna” (Parabolas) [1923], 9 This passage probably alludes also to Kuzmin’s novella, Kartonnyy domik [The House of Cards] (1907), where the name Matilda Petrovna appears for the first time: “If you find it amusing when Matilda sits on your stomach and says she’s a chimera, when in one evening you have ten of the silliest tête-à-têtes of the most compromising kind, when you listen to as many as twenty poets – then we’ve had a very good time. But, between ourselves, all that has palled to a considerable degree” (Kuzmin 1980, 143). 10 On references to Travelers by Land and Sea in Nabokov’s “Lips to Lips” see Barnstead 1986. 11 See Irina Paperno’s discussion of a similar love-triangle in Kuzmin’s “The Trout Breaks the Ice” (1989). 12 See, for example, Blok (1931, 189); Ivanov (1994, 104–105); Markov (1977, 402–405); Shakhovskaya (1991, 40–41) among many others. 13 See Markov (1984). 14 Half way through the narrative, Vanya is told that Stroop “can be reached at the Four Seasons Hotel” in Munich (p. 75). 15 Plato stipulates that “[e]ach person selects his love from the ranks of the beautiful according to his own style” (Phaedrus 252D). 16 For a more detailed discussion of this theme, see Gillis (1978). 17 It is usually assumed that it was Nabokov’s intention to portray Smurov as a failure – both as an artist and as a human being (Johnson 1985; Field 1987, among others). I disagree with this. By carefully piecing himself together, Smurov–Narcissus attains a degree of integrity and peace within himself that is favorable to creativity. Smurov, as a character at any rate, did not fall into oblivion. He came back to life in the satisfyingly self-centered Fedor Konstantinovich Godunov-Cherdyntsev of The Gift (unlike the “nameless” Smurov this character is not only given a name, but a patronymic and a double-barrelled surname), who, by the end of the book, is a picture of real happiness and confidence: It is easier for me, of course, to live outside Russia, because I know for certain that I shall return – first because I took away the keys to her, and secondly because, no matter when, in a hundred, two 56 OKRYLYONNYY SOGLYADATAY hundred years – I shall live there in my books – or at least in some researcher’s footnote. Apart from the fact that both narratives are recounted by the interchanging Ich/Er-narrators, the protagonists in both novels are young Russian émigré writers; both novels also take place in the Berlin of the mid-1920s. The mysterious Marianna Nikolayevna of The Eye reappears in The Gift as Marianna Nikolayevna, Zina’s mother. Fedor’s latent homoerotic attachment to Koncheev – the scene of the naked Fedor meeting with the dressed up “Koncheev” with a stick [sic!] in the “Grunewald” (Part V) is particularly suggestive – is usually overlooked by the critics. Fedor’s lonely sunbathing in Grunewald might have been informed by similar scenes of Michel’s suntanning from André Gide’s novel, The Immoralist (1902). In this novel, Michel resorts to naked sunbathing in a secluded spot (leaving his devoted wife at home) as a means of recovery from TB, the disease that was an outward manifestation of his inner suppression of homosexual desires (Sontag 1977, 21). It is not fortuitous that Nabokov’s Sebastian Knight (The Real Life of Sebastian Knight 1941) also suffered from a mysterious disease that eventually drove him away from his girlfriend, Clare Bishop. Gide’s groundbreaking work was known to Kuzmin and apparently also to Nabokov. On Kuzmin’s Smurov as an “outsider” see Schindler (1992). See Ellis (1936, 3: 347–375), Rank (1971, 69–86), Kohut (1978, 615–617); the studies of Ellis and Rank were published prior to Nabokov’s writing of The Eye. Hermann Hesse’s Narziss und Goldmund [Narcissus and Goldmund] about the spiritual and sensual progression of the young Goldmund was published in the same year as Nabokov’s The Eye. Nabokov’s 1965 foreword to The Eye betrays his intimate links with his protagonist. In it, Nabokov describes Mukhin – Smurov’s lucky rival for Vanya’s attention – as “a nasty prig, fought in 1919 under Denikin, and under Wrangel, speaks four languages, affects a cool, worldly air, and will probably do very well in the soft job into which his future father-in-law is steering him” (pp. 8–9). The actual text of The Eye does not offer any support for such an “unfair” characterization, unless we assume that this foreword was written by an aging Smurov himself. The foreword finishes almost with a “threat”: “The plot will not be reducible in the reader’s mind – if I read that mind correctly – to a dreadfully painful love story in which a writhing heart is not only spurned, but humiliated and punished” (p. 10). See Andrew Field’s discussion of Nabokov as Narcissus (1987, 12, 27–30, 58, 80–82, 139); Field, however, does not consider The Eye in the light of the myth of Narcissus. The question of whether The Eye was intended as a parody of Kuzmin is a tricky one. Even if it were meant as such, Nabokov’s contemporaries certainly failed to recognize its “target text” and Nabokov did not assist them in this endeavor. It would seem that Nabokov (who was notoriously secretive about the works that truly influenced him in the course of his career) took a long time to rid himself of the influence of this particular predecessor. Kuzmin’s presence can be detected not only in The Gift, but in the strangely homoerotic poem “How I love you” [Kak ya lyublyu tebya] (1934) which bears a striking resemblance to corresponding portions of Kuzmin’s long poem “The Trout Breaks the Ice” (1928). Nabokov’s rather fond recollections of his homosexual uncle, Vasiliy Rukavishnikov, in Drugie berega (1954) are reminiscent of the 18 19 20 21 22 23 57 GALINA RYLKOVA canonical descriptions of Kuzmin. Kuzmin can also be recognized in Konstantin Ivanovich Chateau (Pnin 1953), “a subtle and charming scholar . . . [with] mild melancholy caribou eyes, the auburn goatee . . . [and] long frail fingers,” whose article Pnin forwards to his Akhmatova-like future wife in the 1920s. In his article, Chateau (not unlike Kuzmin in Wings and Nabokov in The Eye) “brilliantly refutes . . . [the] theory of birth being an act of suicide on the part of the infant” (Nabokov 1989, 125, 183). Maybe it was only in Pale Fire (1962), whose main theme is, apparently, what Harold Bloom terms the “anxiety of literary influence,” that Nabokov managed to shed Kuzmin’s influence, and any other influence for that matter. In this later parodic re-writing of The Eye, Charles Kinbote fails spectacularly in his endeavor to influence and enliven the imagination of his illustrious neighbor, John Shade, in spite of his frenzied activity (involving incessant discussions, eyeing, spying, and eavesdropping). Not only does he fail to see any traces of his personal story in Shade’s last poem (the only word that resonates through the whole piece is “shade”!), but even his perceived physical resemblance to Shade is completely bogus. Shade does not look like Kinbote but like Judge Goldsmith, a resemblance which costs him his life in the end. Shortly before the tragic accident, Kinbote – not unlike Kuzmin’s lyrical hero in “The Trout Breaks the Ice” – rescues his “dearest friend” Shade from the influence of his “mediocre” wife by inviting him to his house to recite his completed poem. Like Kuzmin’s protagonist, he literally leads Shade (whose feet are numb) to his house. Not surprisingly, he brings him death instead of life. After Shade’s death Kinbote, agonizing over his literary “non-influence,” flies away and possibly commits suicide. 58 4 GETTING ONE PAST THE GOALKEEPER Sports and games in Glory David H. J. Larmour Introductions Glory [Podvig], the story of the travels and maturation of a young émigré, takes Martin Edelweiss from a childhood in pre-revolutionary Russia, through a meandering flight to Switzerland after the revolution, to his university days at Cambridge. It also recounts Martin’s first sexual experience with the middle-aged Alla, his unsuccessful love affair with a girl called Sonia, his friendship with an English student called Darwin and his falling in with anti-Bolshevik émigrés. The novel ends with Martin’s seeking “glory” by crossing over the border into the Soviet Union, for some grand, but unnamed, purpose. This is a journey from which Martin never returns. As a glance at the bibliographical entries in The Nabokovian shows, Glory has received less attention from scholars than most of Nabokov’s other works. There are reasons for this. For one thing, it was the last of the Russian novels to be translated into English, as late as 1971. It also has a significant autobiographical element – childhood experiences, time in Cambridge and visits to Switzerland – and this caused it to be viewed, perhaps primarily, as a quarry from which personal details about the author could be mined. The search for biographical information in such a text turns out to be more like entering a minefield than a quarry: Andrew Field, an expert in this area, remarks that the variation between accounts of the same incident in Speak, Memory, A University Poem, and Glory “forcefully reminds us how futile it is to seek to fix Nabokov in his own novels” (1967, 118). And then, it has often been said that Glory lacks some of the features of the mature Nabokovian text, like complexity for instance. Hyde, for example, divines “a certain thinness” about Glory (Hyde 1977, 51), and says that its appeal “resides in its fairly simple statement of themes which 59 DAVID H. J. LARMOUR later become more complex” (p. 53). What is interesting is how frequently the novel’s autobiographical content is linked with its perceived failings, or, at least, its lack of appeal to a general and a scholarly audience alike. Hyde views it as “written for an émigré audience” to an extent greater than any of the other novels (1977, 53), while Field suggests that the autobiographical material “may be one factor which serves to inhibit the author’s imagination” because Glory “is the longest Sirin work which does not challenge the reader with subtle multiplicity of meaning” (Field 1967, 118). The assumption here is that the presence of personal details or the acting upon the author of the autobiographical urge has had a deleterious effect on the textual production of this novel. But, for all its supposed thinness and simplicity, when Leona Toker investigates the novel’s metaphysical ideas, she discovers that Glory is “as complex as any of the later works” and argues that it is “the first novel to adumbrate Nabokov’s cautious metaphysics, a novel that masks eschatological anxiety with apparent simplicity and a lyrical tone” (Toker 1989, 88). If, as Nabokov himself says in his Introduction (p. xiv),1 this novel was “diabolically difficult to construct,” it is perhaps deserving of closer scrutiny. And indeed, when it comes to the underpinnings of Nabokovian ideology and their connections with the world of actual experience, it is precisely the presence of the autobiographical parallels which makes this text especially worth investigating. Brian Boyd, discussing the plot, notes that “Glory is the first Nabokov novel shaped to match the lack of structure in an individual life” (Boyd 1990, 357–358). And presumably not just any old life; while there is, of course, no simple correspondence between Martin’s life and that of the author, reading Chapter 9 of Boyd’s biography (“Becoming Sirin: Cambridge, 1919–1922” [1990, 164–195]) makes it difficult for the reader to disassociate the two. Although Martin Edelweiss is not, in any simplistic sense, to be equated with Vladimir Nabokov, the ideological assumptions and aporias, the polarities and hierarchies, which the text discloses to us cannot be disassociated either from the world of lived experience in general, or from this author’s real-life concretization of experience in particular. The authorial Introduction functions as a bridge between the text and these realms of actual experience, but, at the same time, through the mechanisms of the game, it works to prevent critical scrutiny of the novel’s ideological manipulations. The Introduction carefully sets up interpretative parameters for the reader, using several superlatives, which seem intended to ensure that we pay attention (pp. xi–xii), especially to certain features of the main characters: Martin is “the kindest, uprightest, and most touching of all my young men” and is “nicer” and “more naive” than the author “ever was.” “Little Sonia” has “lustreless black eyes and coarse-looking black hair” and is “the most oddly attractive of all my young girls, although obviously a moody and ruthless flirt.” This appears to promote a 60 GETTING ONE PAST THE GOALKEEPER sympathy for Martin, the young male, while Sonia, the young female, is delineated with an ambiguous mixture of desire and dislike, straight out of the Catullan odi et amo school. While Martin gets at least four positive epithets, Sonia receives a similar number of negatively-charged ones. We notice immediately that only Martin’s character is described, whereas Sonia is also evaluated for her looks and attractiveness. We are also given nudges towards a “politically correct” interpretation of events in Russia and their aftermath: the émigrés are described as “three staunch patriots, dedicated to counter-Bolshevist work,” with the words “staunch” and “dedicated” carrying positive connotations which alternatives like “diehard” and “fanatical” for instance would not. The émigrés are situated, politically speaking, in the realm of “liberal thought” which, the author takes pains to tell us, had a “vigorous existence among Russian expatriates” – American intellectuals, he adds in a rather sweeping generalization, were “conditioned by Bolshevist propaganda” into believing that all Russian émigrés were either Soviets or Tsarists. The novel Glory, we learn, was serialized in a magazine run by people just like these “three staunch patriots.” These details appear to privilege the “liberal” political position (i.e. the “enlightened liberalism” of the comfortably off with a vested interest in promoting gradual or cosmetic social change) over the two extremes of Soviets and Tsarists, suggesting that the émigrés and the author occupy the enlightened middle ground of moderation and common sense, a sort of parliamentary “golden mean.” They also raise the possibility that, like the “staunch patriots,” this novel is also “dedicated to counter-Bolshevist work.” The Introduction has several more pointers for the reader: Darwin, Martin’s Cambridge friend, and Professor Moon are totally invented, but the characters Vadim and Teddy are based on actual acquaintances the author knew at Cambridge (p. xi). This introduces the dichotomy of fiction and fact, emphasized later by the author’s description of himself as “the wizard who made Martin” (p. xii). The artifice of the author is responsible for Martin’s lack of interest in politics and his lack of talent. Nabokov tells us that it would have been very easy for the author to have made Martin an artist, a writer (p. xiii): “how hard not to let him be one, while bestowing on him the keen sensitivity that one generally associates with the creative creature; how cruel to prevent him from finding in art – not an escape ... but relief from the itch of being!” Nabokov compares the result to a chess problem he once composed, one which was “diabolically difficult to construct.” This all emphasizes the role of the author as game-maker. Peter Hutchinson, in his study of the games authors play, notes that Nabokov frequently gives advance notice of gaming in his titles (such as King, Queen, Knave) or in his prefatory remarks (as in the case of the short story, “The Vane Sisters”), as well as in the text itself (Hutchinson 1983, 36). We are given advice as to how to read the “fulfillment” or “glory” 61 DAVID H. J. LARMOUR which Martin seeks: “it is the glory of high adventure and disinterested achievement; the glory of this earth and its patchy paradise; the glory of personal pluck; the glory of a radiant martyr” (p. xiii). Freudian readings are firmly discouraged: it would be reckless to connect “Martin’s plunge into his fatherland with his having been deprived of his father” or “to point out, with womby wonder, that the girl Martin loves and his mother bear the same name” (p. xiii). This presents the reader with an apparent dilemma: are Nabokov’s remarks to be taken as a parodic anticipation of typical Freudian readings, or as a hint as to where meanings may be found? If we disregard authorial intention, of course, the question becomes moot: a Freudian-based interpretation would probably follow similar lines and, more importantly, what the text raises only to dismiss must be scrutinized. Nabokov ends his prefatory remarks with a lengthy sentence telling us where the “fun” of Glory is to be sought (p. xiv): the echoing and linking of minor events, in back-and-forth switches, which produce an illusion of impetus: in an old daydream directly becoming the blessing of the ball hugged to one’s chest, or in the casual vision of Martin’s mother grieving beyond the time-frame of the novel in an abstraction of the future that the reader can only guess at, even after he has raced through the last seven chapters where a regular madness of structural twists and a masquerade of all characters culminate in a furious finale, although nothing much happens at the very end – just a bird perching on a wicket in the grayness of a wet day. The Introduction thus offers an encapsulation of the main devices of the narrative which follows. It demonstrates how matters of ideological content are subordinated to – or, more accurately – obfuscated by the playing of the game. The pointed remarks about the characters, and the very definite assumptions about women and politics which color them, give way to a focus on the artificiality of the text and the manipulations of the master artificer who made it. Once this is established, and the novel’s characters and events are divorced from such elements of the phenomenal world as political struggle, parent–child relationships, and sexuality, the reader is invited to join the game. Geoffrey Green, drawing on Freud’s “Splitting of the Ego in the Process of Defence” and “Analysis Terminable and Interminable,” astutely speculates on the nature of such Nabokovian distancing: “Might it be said of Nabokov’s writing that it creates alternative ‘situations in reality’ that may serve as ‘approximate substitute[s]’ for the ‘original danger[s]’ that were encountered in life?” (Green 1989, 371). The linguistic brilliance of the final sentence describing the “fun” of Glory indicates that the safe, artful game is, in fact, already underway: the 62 GETTING ONE PAST THE GOALKEEPER artificiality of the narrative is foreshadowed in such phrases as “illusion of impetus,” “the old daydream,” “an abstraction of the future that the reader can only guess at,” the “masquerade of all characters” and the “furious finale.” All these terms create the impression of artifice and illusion. The reader, it seems, can only “guess at” the connections between the world of the narrative and the world of phenomenal reality. The sentence, which continues for several lines before reaching a full stop, overwhelms the reader with information in the same artful way as the narrative does, with its allusions, its chronological and geographical shifts, and its rhetorical devices. This emphasis on playing the game, however, sets off an alarm bell at the same time as it threatens to ensnare the reader in its interpretative net. The alarm is raised by the disjunction between the final sentence and the more openly ideological comments which preceded it. The final sentence contains references to sporting games which anticipate the numerous descriptions of Martin’s athletic activities ahead: “the ball hugged to one’s chest,” the reader who has “raced through the last seven chapters,” and the “bird perching on a wicket” all evoke the playing of games. Even the “back-and-forth switches” suggest the give-and-take which characterizes many such activities. Moreover, this drawn-out sentence, with its overtones of sexual climax (“hugged to one’s chest . . . twists . . . furious finale . . . nothing much happens at the end . . . a wet day”), links sports and sex in a nexus of semiological significance. Thus the reader is alerted that, in the upcoming narrative, the scenes of sporting games may well be a key to some aspects of what the narrative attempts to marginalize: the real-life implications of its ideological assumptions. In a text which relies for its operations on the structures of games, those characters and scenes closely associated with sports may reveal to us the central conflicts of the narrative. Sports and games Martin Edelweiss is marked by his sporting activities: tennis, football, boxing, and mountain-climbing. For some guide to interpretation of these elements in Glory, we can look to other works. Sports and games are, in fact, a standard part of Nabokov’s textual repertoire; Rowe devotes a chapter to exploring their presence, and their sexual symbolism, in numerous novels. In Lolita, there is, for instance, a long description of Lolita playing tennis (Rowe 1971, 211–215). Nabokov himself indicated that “Lolita playing tennis” was one of the “nerves of the novel” (Nabokov 1955, 318, cf. 232–236) and Rowe traces the theme, noting that “the sustained double entendre is very subtle,” but also the presence of “some rather gross potential puns” (1971, 145). He raises the possibility of construing the rally “as a single sex act” and winning “as attaining a climax.” 63 DAVID H. J. LARMOUR The beauty of the symbolism, Rowe suggests, lies “in the fact that none of it – however suggestive – can ever be irrefutably demonstrated” (Rowe 1971, 146). Similar use is made of tennis in King, Queen, Knave (Rowe 1971, 146; Nabokov 1989a, 188), amid a bevy of sporting terms for sexual activity. Football, or some such team game, makes an appearance in Bend Sinister (Nabokov 1990, 66–67; cf. Rowe 1971, 153–154), with the goal as a sexual metaphor. In Laughter in the Dark, when Rex is trying to persuade Margot to have sex with him, their conversation is interrupted by an account of how the ice-hockey goal-keeper “slid slowly toward his tiny goal,” how he “pressed his legs together” and how “the noise had reached its climax: a goal had been scored” (Nabokov 1989b, 151–152). Clearly, sports and sex are intricately bound up in Nabokovian discourse. In Glory, there are three extended scenes in which Martin participates in a sporting activity: the tennis match in Chapter 10 (pp. 46–47), the football match in Chapter 26 (pp. 108–111) and the impromptu boxing bout with Darwin in Chapter 28 (pp. 122–125). Each of these scenes is of pivotal importance for the development of the plot and of Martin’s character, especially in the realm of sexual experience. The tennis match in Chapter 10 is preceded by Martin’s budding attraction to Marie, the maid, which is temporarily dampened when Martin’s mother suggests that Marie smells. Martin watches a courting couple and then sees some women playing on the tennis court, noting how “clumsy and helpless” they are when they play (p. 46). The game of tennis is thus metonymically linked with sexual activity.2 We learn that Martin thinks he is an excellent player, one who “had assimilated the concord essential for the enjoyment of all the properties of the sphere” (p. 47). When he is matched against the experienced professional player from Nice, however, Martin is soundly beaten. Afterwards, he mentally replays every shot, transforming defeat into victory, and realizes how hard it is “to capture happiness” (pp. 47–48). This phrase is an indication that the tennis match has potentially more significance than a simple game or even a sexual experience: it somehow stands for life itself and the quest for happiness. That sporting victory or defeat should be connected with personal happiness is an intriguing notion. The very next scene of the story has Martin travel to London, where he is immediately “victorious” in sexual terms: he spends his first night with a prostitute – who has the almost unbelievably trite name of Bess – and awakens in high spirits the next morning, even though she has stolen ten pounds from his wallet (p. 51). A defeat on the tennis court at the hands of a male opponent, then, is followed by, and closely linked with, a victory in the “game of sex” with a woman; but at the same time the fact that she has preyed upon his wallet imports an element of ambiguity into Martin’s “conquest.” The happiness captured by victory is followed by a loss brought about by trickery. In the second sporting scene, the soccer match follows upon two 64 GETTING ONE PAST THE GOALKEEPER significant events: first, Martin has learned, not without a certain sense of betrayal, that his mother has got remarried, to his uncle (pp. 101–102); second, Martin has had a sexual encounter with Rose, another tritely English name. The “goddess of the tearoom” has told him she is pregnant and Martin has dutifully proposed to her. Darwin, however, goes to talk to the waitress, finds out she is not actually having a baby (thus Martin is again victimized by a combination of sex and trickery), and tells Martin to stay away from her (pp. 102–105). Darwin connects the liaison with Rose to Martin’s role as goalkeeper in the upcoming college soccer match: he is worried that he may not be able to concentrate on his performance in the nets (p. 104). The description of the soccer match itself is full of sexual innuendo: first, in a chronological shift, we hear how Martin would recollect his childhood reveries before sleep, in which he used to see himself as a “crack footballer” (p. 108). The word “crack” is not necessarily innocent in a Nabokovian novel, as Rowe points out in the case of Humbert’s words “– crack players will understand what I mean” (Nabokov 1955, 235) – in his discussion of Lolita’s rhythmic coordination on the tennis court (Rowe 1971, 146). The Glory passage continues as follows: It was enough for him to close his eyes and picture a soccer field or, say, the long, brown, diaphragm-joined cars of an express that he was driving himself, and his mind would gradually catch the rhythm, grow blissfully serene, be cleansed, as it were, and, sleek and oiled, slip into oblivion. (p. 108) and a few lines later: . . . the new series of reveries he had recently evolved . . . would also grow solid and be filled with life, as his dreams about soccer matches had grown solid and incarnate, those dreams in which he used to luxuriate so lengthily, so artfully, when, afraid to reach the delicious essence too quickly, he would dwell in detail on the pregame preparations . . . (p. 109) This is suggestive of masturbatory fantasy, in which the pleasure of orgasm is enhanced by delaying ejaculation. Games and masturbation are linked elsewhere by Nabokov: in Pale Fire (Nabokov 1962, 124), Kinbote uses the term “games” to refer to masturbation (Rowe 1971, 151). The phrasing “grow solid and be filled with life” and “grow solid and incarnate” suggests an erection. Martin is disappointed that Sonia does not even look at him, although this is the first time he has appeared before her in his “soccer array,” and 65 DAVID H. J. LARMOUR when the match starts he looks round to see if Darwin and Sonia are watching (p. 110). As the account of the game gets underway, the text again alludes to Martin’s childhood fantasizing and the language takes on a homoerotic resonance, as he imagines a footballer on the opposing team charging up the pitch towards the goal he is defending: Thus he would protract the delight . . . and now he could hear the panting of the attack as the redhead broke loose – and there he came, his shock of hair bobbing . . . and now the ball was already in his hands . . . (p. 111) The account culminates in the statement that Martin “kept his goal virgin to the end of the game,” thereby ensuring that his team wins with a goal at the other end, just before the final whistle (p. 111). Martin’s net, of course, maintains its virginity by not being penetrated by the ball(s) of the other team. After the game, Martin finds Sonia in Darwin’s room, and is elated to find that Sonia has just rejected Darwin’s proposal. Again, sporting prowess, sexual desire, and happiness are associated with each other, as Martin feels a rush of radiant torrent that had burst through the locks, he remembered the tricky cross he had collected so nicely, remembered that the Rose business was settled, that there was a banquet at the club that evening, that he was healthy and strong, that tomorrow, the day after tomorrow, and for many, many days more life would go on, replete with all kinds of happiness. (p. 113) Martin seizes Sonia and kisses her, just as Darwin enters the room. In this case, paralleling the first sporting incident, Martin’s victory in the football match is followed by a victory over Darwin in the sexual game for Sonia. It soon becomes clear, however, that in this triangle of desire we have more than a simple rivalry between two males for a female prize. The third sporting scene occurs when Martin and Darwin are out in a punt on the river: Martin sees Rose on the bank and ignores Darwin’s injunction not to greet her. Darwin promptly moors the boat and arranges a fight. Martin at first thinks it is all a joke, but changes his mind when he gets hit hard. The ringing in his head “sang of Sonia, over whom, in a sense, they were fighting this duel” (pp. 123–124); the phrase “in a sense” is right, for we never get a clear explanation of Darwin’s behavior. There is a detailed description of the fight, which ends with Martin collapsing on the grass. Darwin grins, puts his arm around his shoulders and together they trudge to the river. They keep asking “each other in low solicitous 66 GETTING ONE PAST THE GOALKEEPER tones where it hurt and if the water did not sting” (p. 125). Afterwards, the two friends lie together on the cushions as the boat floats down the river in a romantic scene which strikes Martin as reminiscent of the wounded Tristram floating “alone with his harp.”3 This episode is followed in the narrative by Martin’s return to Switzerland, where he is the object of his mother’s admiration: “She was satisfied with the happiness at hand – of his being with her now, healthy, broad-shouldered, tanned; of his slamming away at tennis, speaking in a bass voice, shaving daily, and making young, bright-eyed Madame Guichart, a local merchant’s wife, blush as red as a poppy” (p. 129). Shortly thereafter, Martin decides, on his twentyfirst birthday, to go to Berlin, where Sonia now resides. These sporting incidents function as models for the operations of the novel as a whole. For Martin, his relationships with women and with his male friend Darwin are a kind of game, with sexual and social fulfillment as the prize: in the first scene, Martin plays against an anonymous opponent and then has sex with the equally anonymous Bess; in the second scene, Martin’s team is victorious in the football match and he scores a victory in his game with Darwin for the hand of Sonia; in the third scene, Martin’s defeat by Darwin sends him back to his mother and then on in pursuit of Sonia again. The football game has an important social resonance, perhaps explaining Martin’s departure from England: he is the goalkeeper on the team, an essentially passive role, suitable for a marginal figure like him – if he keeps the balls out, he is praised, while if he lets them in, he is condemned. The game can only be won, though, by other members of the team, when they put the ball into the net of the opposing side. If Martin stays in England, he will always be a goalkeeper, never a striker. On the soccer field, he is part of the winning team, but not a winning individual, not even the individual who scores the goal. Defeat in tennis by the professional from Nice or in boxing by Darwin is also a kind of social defeat. The outsider is forced to compete on the locals’ turf and according to their rules – he rejects Vadim’s patriotic exhortation to simply kick Darwin in the balls (p. 122) – and is duly defeated by a kind of skill and sophistication which he does not have. Through the sporting episodes, then, the text reveals profound anxiety about the sexual and social identity of Martin Edelweiss. Martin and women In spite of the smokescreen of such insistent playfulness and gaming, the sexual games of the novel and the discursive portrayal of women (and men) are open to varying (re)interpretation, not necessarily following the guidelines offered in the author’s Introduction. What are the implications of viewing the women in the novel as ideological constructions? Just about every female character – Sofia, Alla, Bess, Sonia, Rose – fits a stereotype. 67 DAVID H. J. LARMOUR Women, moreover, are basically spectators or pawns in Martin’s games. He is incapable of establishing a meaningful relationship with any of them. As Andrew Field comments (1967, 118), the novel is “most centrally about the inability of Martin Edelweiss to form any sort of lasting relationship” and this is what leads to his great exploit (p. 119). Toker suggests (1989, 97) that Martin’s glory is achieved at the expense of human commitments. The urge to interpret Martin’s sexual identity in the light of Freudian paradigms is almost irresistible; the text itself seems actively to solicit such approaches, even if the remarks in the Introduction seek to discourage them: . . . only a desperate saphead in the throes of a nightmare examination may be excused for connecting Martin’s plunge into his fatherland with his having been deprived of his father. No less reckless would it be to point out, with womby wonder, that the girl Martin loves and his mother bear the same name (p. xiii) But, after all, the reader has the right to interpret the text using the methods she sees fit, and why not use the one which the authorial introduction brings to our attention, even if only – apparently – to dismiss it? Nabokov’s antipathy to Freud and psychoanalytic interpretations is wellknown and well-documented, and, one might say, a little too well celebrated among the critics. Indeed, the author’s magisterial response to Rowe’s work typifies the state of the official dialogue between the Nabokovian text and Freudian analysis (Nabokov 1971). This is a dialogue the author aims to frustrate by claims, such as the one he makes in the Introduction to Despair, that he has planted red herrings for the “eager Freudian”: “the attractively shaped object or Wiener-schnitzel dream that the eager Freudian may think he distinguishes in the remoteness of my wastes will turn out to be on closer inspection a derisive mirage organized by my agents” (Nabokov 1966a, 8). These expressions of hostility have not scared off everybody, however, and there have been several illuminating studies of novels and short stories (Shute 1984; Green 1988, 1989; Elms 1989; Welsen 1989). Nor has it gone unnoticed that Nabokov’s open hostility to Freud has only served to cement the links between the two: as Green puts it, “to ban Freud so vociferously is to give him substance, thing-ness, within Nabokov’s world of textual things” (Green 1989, 374). If, moreover, in the search for clues to textual ideology, one is to refuse to play the author’s game or at least to play it exclusively by his rules, then such interpretative strategies are indeed “fair game.” In fact, if we view the attacks on Freud as symptomatic, then the interpreter’s attention is drawn to those aspects of the text which the dominant discourse most strenuously negates, denies, and displaces. 68 GETTING ONE PAST THE GOALKEEPER In his analysis of “Cloud, Castle, Lake” (a short story Nabokov wrote in 1937, just five years after Podvig), Elms discerns “apparently unconscious depictions of a maternal figure, a symbolic return to the womb, and a forcible expulsion from it” (1989, 355). This story concerns a Russian émigré, Vasili, who is greatly affected by the sight of a lake in a forest and who finds a “kind of inn” on its shore. He decides to stay there for the rest of his life. The piece ends with him giving up his job in Berlin, presumably with the intention of returning to the lake. Nabokov commented elsewhere that “he will never find it again” (Field 1967, 197; cf. Elms 1989, 360). Elms convincingly posits a network of “claustral imagery” in the story, suggesting “Vasili has found his own consoling womb with a view” (1989, 359), and connecting the story with the author’s real-life forced exile from Russia and his “loss of an intensely close relationship with his mother when he was a small child” (1989, 362). The description which Elms gives of the short story could easily be applied to Glory: “discovery of a nurturant, womblike paradise which he associates with memories of his childhood, memories of a longed-for but inaccessible woman, and memories of his lost homeland” (1989, 362). The similarities between short story and novel are indeed striking. First in the matter of presentation: Elms notes that in “Cloud, Castle, Lake” there is a mixture of subtle symbolism and more explicit sexual imagery, which may be the author’s idea of a Freudian – or anti-Freudian – joke (1989, 357). This is very much the technique in Glory, where the suggestive mingles with the obvious. Second, the emphasis on the landscape: throughout the novel, Martin is acutely sensitive to his natural surroundings and is drawn inexorably to the “dense forest with a winding path disappearing into its depths,” mentioned first on the second page. Recalling Freud’s theory about the dream landscape as the maternal genitals, as Elms does in his reading of the short story (1989, 357), it is intriguing to speculate on the significance of all the landscape descriptions in Glory. Connolly comments on the obsession with the “absent other” in Nabokov’s early fiction and notes how a distant land can serve as the object of such an obsession (1992, 248n). In Glory at least we appear to be dealing with an “absent (M)other,” to quote Elms, for the landscape descriptions exhibit the characteristic features of the “simple claustral complex.” Toward the end of the novel, Martin returns to the land, working on the “happy, fairytale farm” in rural France (p. 165). His skin becomes the color of terracotta (p. 163), and this is a premonition of his return to his homeland: earlier, on p. 64, Russia was styled a “splendid amphora” and the Soviet Union as a “clay kitchen pot” by Archibald Moon. The dark forest which Martin enters at the close of the novel is, of course, the claustral enclosure par excellence. Third, there is the emphatic presence of the mother: the novel begins with an account of the close bond between mother and child, which appears to have its origin in Nabokov’s own relationship with his 69 DAVID H. J. LARMOUR mother. Nabokov’s mother encouraged him to feel that he and she were psychologically very similar, according to Speak, Memory (Nabokov 1966b, 36–39; cf. Elms 1989, 363) and Martin’s mother “always had the feeling that everything else they talked about created for Martin, through her voice and her love, the same sense of divinity as lived within her” (p. 11; cf. p. 7). Fourth, the theme of the return to the lost homeland: in the short story, this is impossible; in the novel, however, Martin makes the journey, but at the cost of his life (Green 1988, 51). Nabokovian ideology, as visible in this particular text, appears to propose that the development of masculine subjectivity depends to a significant degree upon repudiation of the mother and femininity. This is the real quest in which Martin Edelweiss is engaged. Inevitably, this involves a repudiation, or at least a devaluing, of women in general, as embodiments of the despised femininity within the subject himself. The organizing consciousness of the text helps considerably here, by presenting female characters who are highly stereotypical. Alla is the predatory older woman, and, at the same time, a substitute for the beloved mother. Bess, the prostitute, and Rose, the waitress, are little more than cut-outs from the pop-up book of stereotypes (their names are generic working-class): the former is a thieving prostitute, the latter the deceitful girl who dupes a man into marrying her by claiming she is pregnant. Sonia is the capricious and contradictory coquette: the Introduction, after all, tells us that she is (in spite of being “oddly attractive”) a “moody and ruthless flirt” (p. xi). Sonia is unattainable but desirable; she is also threatening, however, because she has the capacity to undercut Martin’s acquisition of masculine gender identity: she calls him “flower” (making fun of his last name, Edelweiss, 131) and “doggy” (p. 118), and to his dismay takes no interest in his sporting activities (pp. 99, 110). Martin and men In a culture of hegemonic and patriarchal masculinity, manhood is performed for the approval, not of women, but of other men, who evaluate the performance of the masculine gender role. In Glory, Martin is very early on (p. 13) afraid of seeming “unmanly,” and daggers and pistols are mentioned no fewer than five times within the first twenty-seven pages. In such a system, women function primarily as the currency through which this homosocial activity is enacted. On p. 27, young Martin, fascinated by Silvio and the other seamen, with their daggers and pistols, competitively marks out Alla as the woman he would save in the event of disaster. Eve Kosofsky Sedgwick (1988) has adapted René Girard’s paradigm of triangular desire to an erotic triangle in which two males bond “homosocially” through competition for a shared female object of desire. The relationship between Martin and Darwin is of pivotal importance in Martin’s 70 GETTING ONE PAST THE GOALKEEPER performance of manhood. They are rivals for the same woman, and are communicating by being rivals. The violence of the boxing is what brings them finally together. Nancy Morrow suggests that certain characters “may become the player of a ‘dreadful game’ because he or she can never become the imitated other. As a result, a game arising from mediated desire can never lead to harmony and reconciliation. The rivalry that erupts between the subject of mediated desire and the imitated other often leads to irreconcilable conflict, even violence” (Morrow 1988, 11). Martin appears to be just such a character. At the end of Glory, however, there is an implied reconciliation: with Sonia and all the others having faded into the background, Darwin is left standing as a shadowing figure almost analogous to Martin, and seems to coalesce with him, as he walks off into the fir forest along the same winding path that Martin has been heading towards all along (p. 205). Are Martin’s problems with women connected with Darwin? In a sense they are; it is not a simplistic case of Martin preferring Darwin to Sonia in baldly sexual terms. Rather, the text is unable to suppress the homoerotic desire encoded in the narrative, just as it cannot completely hide those desires and fears connected with the mother which were outlined above (p. x). The text attempts manfully to marginalize the homoerotic element, but cannot quite control it. The novel has one explicitly homosexual character, the academic Archibald Moon, who is introduced as the “unsayable,” only to be ridiculed and rejected: Martin homophobically recoils from his mild physical gesture on p. 97 (“Moon without any excuse stroked Martin’s hair with trembling fingers”), along with his “dead” vision of Russia. The words “without any excuse” indicate the disposition of the narrative consciousness towards Moon’s actions, but offer no detailed explanation of what may have motivated them. Martin defines himself in opposition to Moon the homosexual and to his fossilized and sterile Russia which is just a decorative bauble (pp. 64, 97). The performance of masculinity has frequently been associated with homophobia, succinctly defined by Michael Kimmel as “the repudiation of the homosexual within – never completely successful and hence constantly reenacted in every homosocial relationship” (Kimmel 1994, 130).4 Nonetheless, the figure of Moon, although ridiculed like his scholarly counterpart Kinbote in Pale Fire, imports the theme of homoerotic desire, much as the explicit rejection of Freudian readings in the Introduction actually encourages such speculations. It is worth recalling that the Introduction informed us that Moon and Darwin are “totally invented” characters: as such they are entirely the product of the authorial organizing consciousness and therefore particularly revelatory of the text’s ideological structures. Given the all-male environment of Martin’s athletic activities, it is hard not to see some unconscious homoeroticism in the sexualized language in which these activities are described. Interestingly, elsewhere in the 71 DAVID H. J. LARMOUR Nabokovian corpus sporting activities do, from time to time, connote homosexual desire: Rowe (1971, 148–149) notes connections with swimming in King, Queen, Knave (Nabokov 1989a, 78, 80, 203) and in Pale Fire (Nabokov 1962, 291), whose homosexual character Kinbote practices table tennis (p. 22), calisthenics (p. 26), wrestling (p. 98; cf. p. 118) with boys. Kinbote also claims to be an “enthusiastic rock-climber” (p. 118); Martin likes to climb mountains too (pp. 85–87). One might reasonably speculate then on whether the friendship with Darwin is in fact central to Martin’s sexual and social identity and to his crisis of fulfillment. Darwin is, after all, and somewhat surprisingly, the person we see last in the narrative. Conclusions The identity which Martin Edelweiss is conditioned to desire is inevitably contradictory. Rooted in notions of patriarchal masculinity, it is inexorably drawn to the feminine, but with a mixture of desire and repulsion, much like that noted earlier in the remarks about Sonia in the Introduction. The text also represses homoerotic and oedipal desire and connects the two. As an émigré, Martin has equally ambiguous attachments to the Russia where he was born and the England where he is a student. In neither case can he reach a happy accommodation. Russia has changed into the Soviet Union and he cannot blend into England, as he is an outsider. Martin needs both the émigrés and Darwin to maintain his fragile sense of masculine identity and his place in the world, but can only resolve the contradictions by abandoning them both (along with Sonia and his mother) and following the forest path to the place where his identity is whole and unfractured. Unfortunately, this place no longer exists. The text does not seek to resolve the web of contradictions in which Martin Edelweiss finds himself enmeshed. It simply trails off, removing Martin from the reader’s gaze. The three main characters, in spite of the very definite things the author has to say about them in the Introduction, are never fully rounded and remain somewhat nebulous entities. It is this very indeterminacy, however, which allows the scope for various interpretations of them, their doings and their desires, as different framing discourses engender different readings. Notes I would like to thank my colleague Susan Isabel Stein for her helpful comments on earlier drafts of this chapter and for discussing aspects of psychoanalytic criticism with me. 1 Page references to Glory will be given in parentheses in the text without repeating author and date. 72 GETTING ONE PAST THE GOALKEEPER 2 3 4 Tennis appears throughout the text: at p. 54, Martin defeats some of Sonia’s young male friends; at pp. 129–130, Martin’s tennis-playing excites his mother’s approval; at p. 99, it fails to arouse any interest in Sonia; at pp. 136–137, Martin teaches tennis in Berlin and on p. 135 there is a reference to a tennis court where he used to play with his mother, now buried under a new building; on p. 151, Martin has a mistress whom he met at the tennis club; on p. 170, Martin meets Gruzinov by the tennis court; and at p. 175, Martin finds Gruzinov watching a lively game of tennis between two young men. There are obvious allusions to the story of Tristan and Isolde; Galya Rylkova has suggested to me that this tale, particularly its Wagnerian version, was particularly popular among homosexuals because it portrayed the notion of suppressed and unfulfilled desire. Galya Diment (1995, 736) notes Nabokov’s “strong disapproval of homosexuality (even though a number of his close relatives were homosexuals).” 73 5 THE CREWCUT AS HOMOEROTIC DISCOURSE IN NABOKOV’S PALE FIRE Paul Allen Miller Although far from being a professional scholar of Nabokov, I have read Pale Fire many times over the last sixteen years, and one image that has always stayed brightly illuminated in my mind is that of Bob, Kinbote’s unfaithful young lover, standing mournfully before Judge Goldsmith’s house after being thrown out for bringing a red-haired floozy into Kinbote’s masculine den of ping-pong and carrot crunching. The description of Bob1 standing there with skis slung over his shoulder has always struck me as an outrageously funny and yet hauntingly melancholy moment that sets the tone for the whole novel. The passage begins as a description of a photograph Kinbote has of himself and Shade, but as is so often the case in this text, the narrative voice quickly becomes sidetracked by its own, more obsessional concerns2: I am wearing a white windbreaker acquired in a local sports shop and a pair of lilac slacks hailing from Cannes. My left hand is half raised . . . and the library book under my right arm is a treatise on certain Zemblan calisthenics in which I proposed to interest that young roomer of mine who snapped the picture. A week later he was to betray my trust by taking advantage of my absence on a trip to Washington whence I returned to find he had been entertaining a fiery-haired whore from Exton who had left her combings and reek in all three bathrooms. Naturally we separated at once, and through a chink in the window curtains I saw bad Bob standing rather pathetically, with his crewcut, and shabby valise, and skis I had given him, all forlorn on the roadside, waiting for a fellow student to drive him away forever. (p. 17) 74 THE CREWCUT AS HOMOEROTIC DISCOURSE What I want to propose here is that one of the reasons for this scene’s continuing resonance is that it exemplifies a kind of unique semiological nexus of at least five sets of thematically central binary oppositions which structure the novel’s ideological backdrop or, in Jameson’s terms, its “semantic conditions of possibility” (1981, 57): homosexuality versus heterosexuality; the effeminate versus the virile; the European versus the American; refined intricacy versus naive simplicity; and aristocratic culture versus lower class barbarism. The master binarism around which all the other terms turn, and the only one which regularly shifts valences, is that of homosexuality versus heterosexuality. It, as Eve Sedgwick has pointed out, serves as an ideological switching point which both coordinates and disrupts the movement of the other ostensibly subordinate, though relatively autonomous, ideological oppositions not only in the novel but also in the North American and European culture of the last century (Sedgwick 1990, 11, 34, 72–73).3 What follows, however, is less an exercise in queer theory, a field to which it owes countless debts, than an attempt at ideological mapping and thus deconstruction in a novel both phobic and desiring. Nabokov, as is commonly admitted, was an aesthetic formalist, and in an ideally ordered classical universe we would expect these five sets of oppositions to be homologous with one another. And certainly, in terms of popular American stereotypes, the European, the effeminate, the homosexual, the refined, and the aristocratic would all be thought of as essentially opposed to the image of an unrefined, red-blooded heterosexual boy spawned from the raw-boned earth of the prairie. This should come as no surprise. Such simple sets of homologous oppositions are, of course, part and parcel of the Americanocentric vision of Newt Gingrich, Pat Buchanan, and other religious and political fundamentalists, as they are of most exclusionary ideologies. Right-wing populists are hardly the first to see the world in this way. The Romans regarded the “culturally superior” Greeks in much the same fashion. It is unsurprising, then, that one of the main sources of ideological tension, and hence narrative movement, in the novel comes from the fact that the vertical relations maintained between these various sets of superimposed oppositions are highly unstable. Indeed, Bob’s crewcut and the scene in which it is evoked gains its poignancy precisely from the fact that it represents that impossible point in ideological space at which these sets of parallel lines converge, undoing not only the individual oppositions themselves but also the privileges accruing to each position within them. The crewcut, then, is the point of suture which both brings these opposed sets of values together and yet holds them apart, by articulating their inherently contradictory nature. It is the marker of an alienating doublebind that more than all the thematics of lost kingdoms, and more than the biography of Nabokov himself, marks this text as a novel of exile (Hyde 1977, 174–175, 184). 75 PAUL ALLEN MILLER How can such claims be made about a mere haircut? It’s fairly simple. For, as revealed in the now famous photos of accused Oklahoma terrorist, Timothy McVeigh, this particular coiffure wears its ideological markers on its sleeve. The crewcut in American life has certain clear ideological resonances. It is in origin a military hairstyle. It became fashionable in postWorld War II America as a symbol of masculine simplicity, a recollection of the straightforward GIs who had fought to rid the world of European and Asiatic fascism, and who were now fighting the Cold War to stave off Russian Communism. It was the degree-zero of haircuts. It stood for unadorned “Americanicity,”4 and thus, according to the binary oppositions outlined above, it should also have been a marker of heterosexuality. The crewcut represented the polar opposite of Kinbote’s aesthetic, which abhorred simplicity and “sincerity” (p. 112), just as Nabokov did himself (Hyde 1977, 183).5 Nonetheless, what Bob’s peculiar situation shows is that what should be the case and what is the case are often two different things. Bob is Kinbote’s lover. The idea that hairstyles and other systems of bodily adornment are capable of transmitting complex ideological messages is not new. From Lévi-Strauss’s detailed examinations of the patterns of aboriginal tattoos (1971, 176; Jameson 1981, 77–79), to Barthes’s Mythologies (1957), to the popular song “Hairstyles and Attitudes” by Timbuk 3, it is commonly accepted that, within the ideological and semiological constraints imposed by our cultural communities, the way we choose to look says something about who we want to be. A crewcut is an ideological statement. In addition, there is a long tradition in the west that links short hair with masculinity and virtue, and long hair with effeminacy and decadence. It stretches from the iconography of the cavaliers and the roundheads in the English Civil War, which Priscilla Meyer has shown is an important subtheme in the novel – with Charles Xavier of Zembla standing for Charles II of England (Meyer 1988, 102)6 – to Saint Paul’s admonition for men to keep their hair short while their wives should wear it long (Corinthians 1.11–14), and to Athenian Old Comedy’s depiction of long-haired aristocrats as those who like to be sexually penetrated, as Chuck Platter has recently demonstrated (1996).7 In Rome, long hair was a sign of both adolescence and pederastic availability.8 Yet in the Classical Latin literature which David Larmour has shown Nabokov knew so well (1990a; 1990b), there is also evidence of an alternative construction of the set of oppositions signified by short hair versus long hair, masculine versus feminine, and, to use a set of terms which Foucault and Halperin (1990) have demonstrated are anachronistic for the ancient world but not for Pale Fire or Nabokov, homosexual versus heterosexual (the ancients categorized sexual preferences in terms of active versus passive). This alternative construction can be most readily seen in Juvenal’s second satire. Here we are treated to a hilarious send-up of the 76 THE CREWCUT AS HOMOEROTIC DISCOURSE arch masculinist pretensions of certain stern Stoic philosophers to Roman virtus (“virtue” but also “virility”). These philosophers kept their hair cropped short, prided themselves on their rejection of feminine adornment, and lusted heartily after young boys and passive anal penetration: Your shaggy limbs and the bristling hair on your forearms Suggest a fierce male virtue; but the surgeon called in To lance your swollen piles dissolves in laughter At the sight of that well-smoothed passage. Such creatures talk In a clipped, laconic style, and crop their hair crew-cut fashion, As short as their eyebrows. (2.11–15) In the case of Juvenal’s philosophers, then, the virile simplicity of their puritanical demeanor ultimately reflects not the patriarchal heterosexuality of Rome before its infection with the effeminizing vices of the Greek east (a common Roman ideological fantasy).9 Rather, it points to that kind of extreme valorization of masculinity and male homosociality which finds its ultimate expression in what Irigaray has punningly termed “hommosexuality” (1985, 140–141).10 Consistent with this semiotics of virility, Kinbote labels his own sexual practices “manly” or “masculine” (pp. 79, 92), while denigrating the sexuality of women (pp. 13, 16, 148, 172, 210). The tendency for such an excess of masculinity to be turned into its presumed opposite, effeminized homosexuality (hence the now obsolete term inversion), is in turn illustrated throughout the novel by such descriptions as that of Joseph Lavender’s collection of erotic French photos featuring “oversized ardors” and “a dapple of female charms” (p. 141), or of the way Oleg’s “bold virilia contrasted harshly with his girlish grace” (p. 89). Hypermasculinity always verges on androgyny. The most spectacular example of this tendency of an intense focus on virility to convert itself into a kind of femininity is the case of Garh, who when we first meet her is a lusty Zemblan mountain girl whose advances the fleeing king firmly rebuffs (pp. 102–103), but who reappears in the index as “Also a rosy-cheeked goose-boy found in a country lane, north of Troth, in 1936, only now distinctly recalled by the writer” (p. 217; Johnson 1979, 36). Bob, Kinbote’s crewcut-coiffed erstwhile American lover, exemplifies a similar mixing of ideological and sexual codes within the symbolic economy of Nabokov’s novel. Indeed, if we return to the passage in question we will find much the same pairing of seeming ideological opposites throughout the scene as was noted in the satire of Juvenal’s Stoics. We begin with the opposition implied in the first sentence between Kinbote’s “white windbreaker acquired in a local sport shop and a pair of lilac slacks hailing from Cannes.” The windbreaker bears three ideological 77 PAUL ALLEN MILLER markers: its color; its local provenance; and its association with sports. White is a color which generally connotes purity. Its status as the absolute lack of color (even if that status is spectrographically incorrect) connotes simplicity, and its plainness clearly opposes it to the lilac of the pants. The windbreaker’s local provenance marks it as American, and the fact that it was purchased in a “sports shop” links it with the world of vigorous athletic activity, which, in the late 1950s and early 1960s when the novel was being written, was an exclusively masculine domain. The sporting life is thus a site of normative virility and hence ostensible heterosexuality, but it can also be a marker of the same latent “hommosexuality” of which Irigaray speaks. It is ambivalent. Indeed one feels sure that Kinbote would have thrilled at the thought of a gymnasium full of crewcut-wearing young football players about to hit the showers (Fussel 1991). The lilac pants, on the other hand, bear the exact opposite set of ideological markers. In color, they are bold rather than simple, and they are hardly masculine in association. The image of John Wayne riding off into the sunset wearing lilac pants is one that can only provoke hilarity. Their provenance is European rather than American, and the fact that they were bought in the resort city of Cannes associates them with the overrefined, aristocratic world and, from the perspective of American puritanical provincialism, the questionable morals of the French Riviera. We see, then, all ten of the terms of our initial five binary oppositions lining up in about the fashion we would expect: virility, simplicity, a certain cultural barbarism, and “Americanicity” found on one side and the effeminized, the refined, the aristocratic, and the European on the other. The one loose cannon is the homosexual versus heterosexual opposition. It swings both ways and so threatens to undermine the ideological edifice of the novel as a whole. Moreover, this pattern of oppositions is pervasive throughout the text. If we look just a few lines later in the same passage we find mention of “a treatise on certain Zemblan calisthenics” in which Kinbote hoped to interest young Bob before he betrayed him with his “fiery-haired whore.” The term calisthenics, of course, puts us firmly back in the realm of the sports shop where the white windbreaker was purchased, but the term Zemblan, however imaginary its derivation, locates us at not too great an ideological distance from the Riviera.11 The ambiguity is fertile, as it were, because the exercises Kinbote has in mind are more stimulating than your garden variety jumping jack, though perhaps not all that different in spirit. Indeed, this treatise would appear to be a kind of Zemblan Kama Sutra. Such a reading is confirmed by a number of later passages in the novel that associate vigorous masculine activity, often of a sporting nature, with homoeroticism. Thus in Kinbote’s commentary on line sixty-two, in the midst of recounting his vision of a black cat “sporting a neck bow of white silk,” we find the following disquisition: 78 THE CREWCUT AS HOMOEROTIC DISCOURSE It is so easy for a cruel person to make the victim of his ingenuity believe that he has persecution mania, or is really being stalked by a killer, or is suffering from hallucinations. Hallucinations! Well did I know that among certain youthful instructors whose advances I had rejected there was at least one practical joker; I knew it ever since the time I came home from a very enjoyable and successful meeting of students and teachers (at which I had exuberantly thrown off my coat and shown several willing pupils a few of the more amusing holds employed by Zemblan wrestlers) and found in my coat pocket a brutal anonymous note saying: “You have hal.....s real bad, chum,” meaning evidently hallucinations . . . (p. 71) This is a very rich passage, weaving together as it does manifest paranoia, nostalgic remembrance, and a denial of hallucinations in the form of hallucinating the word hallucination in a text where halitosis is manifestly intended. Indeed, it bears all the marks of that complete obfuscation of the referent in the moment of free play which is the hallmark of postmodernity, and of the complex ideological threads out of which the postmodern is woven (Jameson 1985, 255–256). Nonetheless, those ideological threads are still there to be unraveled, and what I want to pay close attention to in this passage are the Zemblan wrestling holds. The homoerotic context in which those holds are mentioned is first made clear by the fact that reference to them comes immediately after Kinbote’s avowal that he has found it necessary to rebuff the advances of several young instructors. It is made all the clearer both when those holds are qualified as “amusing” and when we realize that Kinbote’s face was apparently so close to that of his “willing pupils” that his breath caused some severe discomfort. The word amusing is used elsewhere in the novel to denote the presence or possibility of a homosexual liaison. Thus in a later note in which Kinbote is monomaniacally recounting the escape of King Charles from Zembla, we find out that Charles stumbles upon a “restaurant where many years earlier he had lunched with two amusing, very amusing sailors” (p. 104; emphasis added). Hence, it would seem that the Zemblan wrestling holds referred to with the same adjective above are analogues to those very Zemblan calisthenics in which Kinbote had hoped to interest young Bob. The world of virile sport, of rough and ready masculine activity, then, is a world of possible homosexual encounters in Pale Fire, as it was in the Greek gymnasium.12 This fact is made all the clearer in another passage where Kinbote explicitly contrasts sport with heterosexuality: “Charles Xavier had gone to an all-night ball in the so-called Ducal Dome in Grindelwood: for the nonce, a formal heterosexual affair, rather refreshing 79 PAUL ALLEN MILLER after some previous sport” (p. 76). Likewise the most common metonym used for Kinbote’s homoeroticism is the recurring motif of the ping-pong table. Early on, we learn that Kinbote keeps two ping-pong tables in his basement and that this fact is drawing comments from his fellow professors (p. 13). On the next page, those same ping-pong tables are unmistakably linked with Kinbote’s sexual adventures: “I explained I could not stay long as I was about to have a kind of little seminar at home followed by some table tennis with two charming identical twins and another boy, another boy” (p. 14).13 That Kinbote had in fact taken liberties with his students is evident from the fear he expresses when called into the office of the head of the department and told that a boy had complained to his advisor. The complaint, it turns out, was not about Kinbote’s advances, but the latter’s sense of relief clearly shows that he knew that a sexual harassment charge was possible: There was also the morning when Dr. Nattochdag, head of the department to which I was attached, begged me in a formal voice to be seated, then closed the door, and having regained, with a downcast frown, his swivel chair, he urged me “to be more careful.” In what sense, careful? A boy had complained to his adviser. Complained of what, good Lord? That I had criticized a literature course he attended. . . . Laughing in sheer relief, I embraced my good Netochka, telling him I would never be naughty again. (pp. 15–16) The teasing rhetoric which only slowly reveals the true nature of the student’s complaint is clearly designed to make plain to the reader the nature of Kinbote’s anxiety (Walton 1994, 100–101). His fear of being outed, however, in no way alters his behavior, for we later learn that he is now auditioning partners for his third ping-pong table (pp. 113–114). It takes little imagination to see how the sport of table tennis with its bouncing balls and paddles can be easily transformed into a metonymic evocation of Kinbote’s pederastic desires. That spanking was one such activity becomes clear later when he writes of Bretwit’s inadvertently revealing to Gradus that the king had left Zembla, “I could have spanked the dear man” (p. 128).14 In any case, ping-pong, like wrestling and calisthenics, is a well-defined part of the novel’s erotic vocabulary. In a still later passage where Kinbote describes how he first met his “versatile gardener” who was to provide him with rubdowns and other services (pp. 53, 114), the gardener’s attractive display of his own virile body serves as a salve to Kinbote’s wounded feelings after he had apparently been caught committing an indiscretion at the college pool – a site 80 THE CREWCUT AS HOMOEROTIC DISCOURSE for athletic activity where numerous nearly naked masculine bodies would normally be found: This gifted gardener I discovered by chance one idle spring day when I was slowly wending my way home after a maddening and embarrassing experience at the college indoor pool. He stood at the top of a green ladder. . . . His red flannel shirt lay on the grass. . . . He started work at my place the very next day. He was awfully nice and pathetic, and all that, but a little too talkative and completely impotent which I found discouraging. Otherwise he was a strong strapping fellow, and I hugely enjoyed the aesthetic pleasure of watching him buoyantly struggle with earth and turf or delicately manipulate bulbs. (pp. 205–206) This passage combines all the major elements we have been discussing: manly sport; the gardener’s simplicity (he is after all a manual laborer); homoeroticism; and “Americanicity,” inasmuch as the gardener is black and therefore presumably not of European extraction (p. 155). Yet the mix is unstable; like Bob and his crewcut, the gardener, with his virility and his simplicity, would seem to be worlds away from Kinbote’s lilac pants purchased in Cannes. The fact that he is not foreign to Kinbote’s desires reveals the essential instability of our five initial oppositions. Indeed, the association of homoerotic feelings with attractions to either the socially marginal or those who eschew cultural refinement is pervasive throughout the novel, making our seemingly stable notions of virility, simplicity, sexuality, and cultural identity ever more difficult to define. Thus in addition to the gardener, we find Charles at one point admiring the “goodnatured faces, glossy with sweat, of copper-chested railway workers,” who we can presume were similarly shirtless (p.106), at another speaking of drunken young revolutionary soldiers “taking liberties with a young page” (p.86), not to mention the amusing sailors cited earlier and a “black giant” who had “brutally enjoyed” a “fickle young” stableboy (pp.209–210). By the same token, when Kinbote recounts the king’s failed attempt at marriage and the production of an heir we find Charles succumbing to the pleasures of a raft of circus performers, whose very names signify both low social status and aristocratic decadence, and one of whom is directly termed a brute: [Queen Disa] found out all about our manly Zemblan customs, and concealed her naïve distress under a great show of sarcastic sophistication. He congratulated her on her attitude, solemnly swearing that he had given up, or at least would give up, the practices of his youth; but everywhere along the road powerful temptations stood at attention. He succumbed to them from time to 81 PAUL ALLEN MILLER time, then every other day, then several times daily – especially during the robust regime of Harfar Baron of Shalksbore, a phenomenally endowed young brute (whose family name, “knave’s farm,” is the most probable derivation of “Shakespeare”). Curdy Buff – as Harfar was nicknamed by his admirers had a huge escort of acrobats and bareback riders, and the whole affair rather got out of hand so that Disa . . . found the palace transformed into a circus. (pp. 148–149) The circus smells Disa found in the palace were no doubt not much different from those Charles himself complains of when recalling the drunken revolutionaries “taking liberties with a young page” – “And what a smell of leather and goat in the spacious chambers once redolent of carnations and lilacs!” (p. 86). Just as the difference between virile and effeminized, and in conventional terms that between homosexual and heterosexual, becomes more and more confused, so does the difference between simple and refined, aristocratic and barbarian. In short, the very difference between the elite and the herd, the civilized and the philistine, on which, as William Gass approvingly notes, so much of Nabokov’s art depends, begins to collapse.15 When lilacs and circus smells become all but indistinguishable, so presumably do crewcuts and pants bought in Cannes. One of the most striking examples of this collapse of social and cultural distinctions in the novel’s crucible of pederasty can be illustrated by comparing two scenes of fondling in the novel. The first involves an old groom named Grimm, a moniker evoking both a haggard scowl and the cruel peasants and forest people that populated the world of fairytale before being sanitized for modern consumption. Grimm we find out had “had a way of fondling” a young boy named Christopher when no one was around, a way that Christopher apparently quite enjoyed (p. 157).16 This fondling by the old groom, reminiscent of Foucault’s peasant of Lapcourt and the game of curdled milk (1978, 31–32), can in turn be compared to another scene of “fondling,” where the social and ideological markers are reversed. It occurs in the midst of one of Kinbote’s harangues against Gradus’s supposed terrorist organization, the Shadows: Spiteful thugs! They may be compared to hoodlums who itch to torture the invulnerable gentleman whose testimony clapped them into prison for life. Such convicts are known to go berserk at the thought that their elusive victim whose very testicles they crave to twist and tear with their talons, is at a pergola feast on a sunny island or fondling some pretty young creature between his knees in serene security laughing at them! (pp. 107–108; emphasis added) 82 THE CREWCUT AS HOMOEROTIC DISCOURSE This passage clearly aims at establishing an opposition between pederasts and thugs which would underwrite the earlier discussed homology between the oppositions, hetero- versus homosexual, and aristocratic culture versus barbarism. Yet as the description of Grimm, as well as of the thugs’ focus on their accuser’s testicles, reveals the opposition cannot be maintained. Once again, it seems, homoeroticism swings both ways. This rhetoric of the simultaneous assertion and undermining of social, cultural, and sexual homologies can be found most strikingly in the case of Gradus. At first, he would appear to occupy in every sense the opposite end of the ideological spectrum from Kinbote. Thus at one point we are told that the would-be regicide is disgusted by the sexual advances of young Gordon Krummholz at the villa of Joseph Lavender (a shade darker than lilac), advances to which the fugitive king had willingly succumbed. “The young woodwose had now closed his eyes and was stretched out supine on the pool’s marble margin; his Tarzan brief had been cast aside on the turf. Gradus spat in disgust and walked back toward the house” (p. 144). The whole atmosphere of this scene is bathed in the pale light of what, from a middle-American or normative bourgeois perspective, can only be described as a bizarre aristocratic effeminacy and decadence: He had nothing on save a leopard-spotted loincloth. His closely cropped hair was a tint lighter than his skin. . . . “That’s the Grotto,” said Gordon. “I once spent the night here with a friend.” Gradus let his indifferent glance enter the mossy recess where one could glimpse a collapsible mattress with a dark stain on its orange nylon. The boy applied avid lips to a pipe of spring water and wiped his wet hands on his black bathing trunks. (pp. 142–143) Gradus, however, is insensitive to young Gordon’s charms. The lips seductively wrapped around the pipe of spring water had but the slightest effect. “Our preoccupied plotter did not register any of these details and merely experienced a general impression of indecency” (p. 142). The combination of insensitivity and moral revulsion clearly marks Gradus as a member of the world of thugs, rather than of gentlemen (pp. 142–143). He is portrayed as one with the philistine world of “frenzied heterosexualism” with its cynicism and glossy magazines that Kinbote decries (p. 126). Indeed Gradus is, in Kinbote’s own words, a “Puritan,” a term whose profound resonance with American culture and self-identity Nabokov certainly recognized (p. 109), and one to which we shall return. There is another side of Gradus, however, one which points to a homoerotic potential precisely because of his low social standing and his consequent association with that kind of rough and ready hypervirility which 83 PAUL ALLEN MILLER we saw earlier in the “homosexualism” of the gardener, the copperchested railway workers, those amusing sailors, Bob, and his crewcut. Gradus, of course, before becoming an assassin, had been a laborer in the Onhava glassworks, a hotbed of Zemblan revolutionary fervor. Kinbote’s description of his craft, however, is laced with erotic double-entendres and sexual insinuations: He also worked as teazer and later flasher, at governmental factories – and was, I believe, more or less responsible for the remarkably ugly red-and-amber windows in the great public lavatory at rowdy but colorful Kalixhaven where the sailors are. (p. 109) The words teazer and flasher are technical terms from the world of glassmaking, referring respectively to the “stoker or fireman in a glasswork” and to the person who causes the “globe of glass to expand into a sheet” (OED). But they are also sexual slang, and at least one flasher in the colloquial sense of the term appears in the novel, “the college porter who one day . . . showed a squeamish coed something of which she had no doubt seen better samples” (p. 168). In addition, it is unlikely to be accidental that these “technical” terms appear in the context of Kinbote’s nostalgic recollection of the public restroom in “rowdy but colorful Kalixhaven,” where Charles had apparently cruised in happier times. That such is the correct reading of this evocation of the exiled king’s sexual slumming can be confirmed by the presence of the sailors. These are the same sailors that were termed “amusing, very amusing” earlier in the novel, as can be seen by turning to the entry under Kalixhaven in the index, which reads “a colorful seaport on the western coast a few miles north of Blawick (q.v.), 171; many pleasant memories” (p. 218). If one then turns to the entry under Blawick (p. 215), it describes a seaside resort and directs the reader to Kinbote’s commentary on line 149 of Shade’s poem, which is where the passage on the “amusing” sailors first appeared (p. 104).17 Gradus, thus, by association becomes linked with a particularly low-rent side of Kinbote’s sexuality. This motif culminates in what can only be described as a fantasy of anal rape, when at the end of the same note in which Kinbote describes Gradus’s work as a teazer and a flasher in the public lavatory he launches into the following diatribe, “Gradus should not kill kings. Vinogradus should never, never provoke God. Leningradus should not aim his pea-shooter at people even in dreams, because if he does, a pair of colossally thick, abnormally hairy arms will hug him from behind and squeeze, squeeze, squeeze” (p. 111).18 Thus Gradus, like Bob’s crewcut, becomes a nexus of competing and contradictory discourses. Ostensibly heterosexual and certainly barbarously lower class, Gradus seems to be everything Kinbote is not, and yet on the 84 THE CREWCUT AS HOMOEROTIC DISCOURSE level of fantasy if not on the level of narrative fact (if such a distinction has any meaning in a text like Pale Fire), he nonetheless becomes associated with precisely that homoeroticism for which Kinbote explicitly states Gradus feels disgust. Gradus is discursively seduced in a way that makes the seeming distinction between him and Kinbote, as well as that between the baroque and the simple, the cultured and the barbarous, the homosexual and the heterosexual, and the roughly masculine and the decadently effeminized, appear to be nothing more than the product of an obsessive and pedantic imagination which insists on impressing its own absurdly reductive schema on a disorderly world that consistently eludes it. The classically ordered universe of strict homologism between levels of signification in short appears every bit as mad as Kinbote’s reading of Shade. One last opposition remains to be discussed: the American versus the European. Gradus, it will be recalled, was referred to by Kinbote as a Puritan with a capital P. This specific allusion to the religious sect most firmly tied in the popular imagination with the founding of the American nation links Gradus’s ostensible simplicity, barbarity, and heterosexuality with the same traits of red-blooded American masculinity signified by Bob’s crewcut.19 This superficial homologism is confirmed on a number of levels throughout the novel. Thus at one point Kinbote speaks of the “popular nomenclature of American animals” as reflecting the “simple utilitarian minds of ignorant pioneers” (p. 132), while Shade, the image of Robert Frost and an essentially American simplicity in poetry itself (Meyer 1988, 133), terms the King of Zembla, as Kinbote has described him to the poet, “rather appalling,” presumably referring to his pederastic proclivities (p. 153). At the same time, Goethe, the emblem of European sophistication, is specifically described as an author of pederastic poetry: “This line, and indeed the whole passage allude to the well-known poem by Goethe about the erlking hoary enchanter of the elf-haunted alderwood, who falls in love with the delicate little boy of a belated traveler” (p. 169). Likewise, Igor II, an early nineteenth-century king of Zembla is described in the index as having had a collection of statues of his “four hundred favorite catamites in pink marble, with inset glass eyes and various touched up details” (pp. 217–218). Thus Kinbote, as what Hyde has termed the bearer of the “myths of a decayed and deposed aristocracy, the ghost of the mind of Europe” (1977, 177),20 as opposed to the “utilitarian minds of ignorant pioneers,” consistently portrays his own set of cultural values as the natural and necessary corollary of his own homoeroticism. From this perspective a classically ordered universe can be reimagined in which the European, the effeminized, the homosexual, the refined, and the aristocratic are systematically opposed to the American, the virile, the simplistic, and the barbarous. Yet just as systematically every time this typology is erected in the novel, its lack of foundation is exposed. Bob the crewcut-coiffed all-American boy is seduced. Demonstrations of manly sport become 85 PAUL ALLEN MILLER quasisexual encounters in which wrestling holds and calisthenics serve as metonyms for sexual positions. Kings are found having erotic frolics with sailors in public restrooms, and aristocrats fondling young boys on the beach are indistinguishable from grim old stable hands fondling young aristocrats. By the end of it, John Wayne in lilac pants sounds not nearly so absurd as when we began. The ordering, taxonomic ideology which made the world make sense, which underwrites the distinctions not only of feverish systematizers but also of sophisticated aesthetes are revealed as pathetic attempts to keep disorder at bay. Nor is one side of the oppositional column any more innocent than the other. Bob’s seductive virility was always already ready to be supplemented by the Irigarayan “hommosexuality” which is its necessary product. In some ways this whole systematic inversion of norms is perhaps best symbolized by what I like to think of as Kinbote’s seduction of Tom Sawyer. The description is found in the index entry under Kinbote: his logcabin in Cedarn and the little angler, a honeyskinned lad, naked except for a pair of torn dungarees, one trouser leg rolled up, frequently fed with nougat and nuts, but then school started or the weather changed . . . (p. 219) The image of the shirtless boy (like the gardener) standing in or near a mountain stream, with his fishing pole over his shoulder and one leg of his jeans rolled up over his knee is something out of a Norman Rockwell painting. It’s an American idyll of childhood innocence and simplicity, a pastoral Eden. But Vergil’s shepherds got lonely and Nabokov’s do as well. This Tom Sawyer, we find, was fed with nougat, nuts, and probably more. He was seduced. Seduced but not raped. The American ideal of unsophisticated innocence and purity is sodomized, but as Bob and his haircut show, and the token bribes of a little candy reveal, it wanted it all along. Its purity and simplicity was a pose every bit as much as that of Juvenal’s philosophers. But so was the sophistication of its seducer. The European and the American, just like the Greek and the Roman, or the hetero- and the homosexual, each require the other for their identity and hence always necessarily undermine their own specific claims to priority and position (Walton 1994, 100). The dominant term in each case is dependent on the submissive and vice versa, and the pressure exerted on them in Pale Fire is so intense they can only implode. In the end, the collapse of these artificial distinctions leaves us all in exile from the world of comforting but dangerous certitudes, all frantically trying to make sense of a nonsensical world, and all too often trying to find a hated and despised other that will allow us to prop up our own ever more fragile senses of cultural, sexual, and personal identity. 86 THE CREWCUT AS HOMOEROTIC DISCOURSE Notes 1 For more on Bob, see pp. 69–70. Page references to Nabokov’s text will be given in parentheses in the text without repeating author and date. 2 For the interweaving of the rational and the frankly bizarre, see inter alia pp. 7 and 18. On Nabokov’s use of homosexuality to denote solipsism, see Meyer (1988, 203). On the failure of previous attempts to deal with the topic of homosexuality in Pale Fire and the tendency to see it as a metaphor for something else, see Walton (1994, 89–96). 3 I had not yet read Sedgwick’s excellent book when I first wrote this chapter. Consequently, what follows is less an application than an expansion and confirmation of her hypothesis. 4 For a defense of a similarly ridiculous neologism, see Barthes’s Mythologies (1957, 206) 5 On Kinbote as a “voice” of Nabokov himself, see in addition to the passages already cited: p. 94, for the declaration that “ ‘reality’ is neither the subject nor the object of true art which creates its own special reality having nothing to do with the average ‘reality’ perceived by the communal eye”; p. 153, for the notion that “true art is above false honor”; and p. 162, the disparaging of “Freudian fancies.” These are all quite Nabokovian sentiments, uttered by a madman. Meyer qualifies Kinbote as a “parody” of Nabokov himself (1988, 63, 108). The author’s deployment of this rhetorical strategy of the mise-enabîme in regard to his own subject position is one of the aspects that definitively marks this as a postmodern text. 6 See also her interesting observation, “Nabokov’s use of the buried treasure of the history of the Restoration is a recompense in art for the assassination of his father. He wreaks his revenge by likening the Cromwellians to Gradus, by showing revolutions to be conducted by simpleminded thugs” (1988, 108). 7 See also his unpublished paper on female depilation and the iconography of the well-trimmed pubis as an image of disruptive sexuality brought under control. 8 Tibullus 1.4.37–38; Murgatroyd (1990, 144–145); see also the character Giton in Petronius’s Satyricon. 9 See Catharine Edwards’s extensive discussion (1993, 94–97). 10 Lacan first uses the term “hommosexuel” in his Séminaire XX to designate the phallic conception of love as opposed to that jouissance féminine which is “audelà du phallus,” that is to say “beyond or in excess of the phallic” (1975, 69, 78–79). 11 In addition, the term calisthenics is Greek in origin, combining the roots kalos (beautiful) and sthenos (strength). It easily calls to mind the well-oiled bodies of the Greek gymnasium, the site of both manly prowess and pederastic desire. 12 On contemporary gay male gym culture and its complex patterns of signification and efforts to distinguish itself from straight gym culture, see Halperin whose discussion, while enlightening, is overly schematic in its desire to separate the two phenomena from one another in an absolute fashion (1995, 32, 116–118, 221n, 225). 13 Note the use of repetition in this passage as well as in the earlier one on the “two amusing, very amusing sailors” (p. 104). This trope seems to be a method for marking erotic discourse in the novel. 14 For those who doubt the erotic potential of such spanking in a literary context, I can only suggest that they read Robert Coover’s Spanking the Maid. 15 See Meyer’s argument that the smugness or cruelty detected by some readers in Nabokov’s work is merely a device to help the reader develop “the necessary critical distance” (1988, 23). It is unclear, however, that, even if such were a 87 PAUL ALLEN MILLER 16 17 18 19 20 complete accounting of the author’s intentions, this fact would negate the actual content of those formal devices. A related but not quite identical image can be found in the comparison of the “fingers of fate” to those of “a grim old shepherd checking a daughter’s virginity” (pp. 165–166; emphasis added). For a good general discussion of the riches the index contains, see Johnson (1979). On the repetition, see note 10. Puritanism in the novel is linked with revolutionary thugs, be they Gradus’s Shadows or Cromwell’s roundheads (Meyer 1988, 102–103) For Lolita presenting “America . . . through foreign eyes” and for parallels between Humbert and Kinbote, see Meyer (1988, 12, 219). 88 Part III LOLITA 6 SEEING THROUGH HUMBERT Focussing on the feminist sympathy in Lolita1 Tony Moore It is a question of focal adjustment, of a certain distance that the inner eye thrills to surmount, and a certain contrast that the mind perceives with a gasp of perverse delight. (Lolita 17)2 Brief argument I read Vladimir Nabokov’s Lolita when it was first published expecting a riot of excitement not readily available in my life then. I was an English public schoolboy harboring primitive private urges, a member, along with children and illiterate juvenile delinquents, of one of three groups Nabokov scornfully cites to characterize some boorish readers drawn to his novel in the mid-fifties.3 Quite a few of us in Britain viewed it as a dirty work before seeing a page. Yet even my untutored, insensitive response must have absorbed some ambiguous sense of criticism of “the special experience ‘H. H.’ describes” (Nabokov 1989, 5), to borrow Dr. John Ray’s oleaginous evasion, for, as far as I can remember, I got no cheap thrills; the book dampened my commitment to prurience and left me floundering in search of other outlets for my rampant, morally deplorable teenage lusts. Forty years on, I took up Lolita again with a graduate class of thirty-five American women, whose enthusiastic reception of the book convinces me that Humbert Humbert, notorious pedophile and blatantly manipulative narrator, has had a hard time from critics since he first appeared; he is overdue rehabilitation. I realize that coupling him and feminist sympathy will be dismissed as an outrageous oxymoron by many who have vilified him. Yet Lolita subverts the conventions of male ownership and control in Humbert’s memoir and sabotages that character’s attempts to shift blame for his obsessive criminal perversion onto women’s 91 TONY MOORE innate being. The narrative exposes the Humbert who tells much of the tale as a prisoner of his own male rhetoric. His alibis are betrayed by weaknesses revealed in his presumption of power, over both Dolores Haze and his writing. Like many fine postmodern texts, Lolita is not what it pretends to be. Nabokov uses Humbert as the focus of much dissembling during the eight weeks the character devotes to his memoir. It is not a revolting tale told by an obsessive pervert of his vile perversion. It is not the total of its criminal narrative raw material: pedophilia, rape, incest, sexual slavery, repeated child abuse, kidnapping, wife battering, and murder. It is not defiantly callous in promoting a flippant, joking response to these serious and intractable matters. It is not an attempt to justify the unjustifiable by an increasingly desperate narrator whose reductively narrow sexual selfabsorption obliterates the interests and feelings of a young American girl. It does not denigrate Dolores nor abandon her to side with a sex monster. It is not a pornographic fiction. It is neither a love story nor an antifeminist fiction.4 Lolita is none of the above in spite of brave attempts, mounted regularly since publication, to make the novel carry these and similar offensive readings, through attacks that are usually blind to the book’s complexities. Although parts of the book can bear expert witness to one or more of such views, hostile reactions are based mainly on the misconception that the whole narrative is a justification of Humbert’s behavior. Much critical opinion is led astray into accepting the surface meaning of his first person account entirely at its declared value, taking him and his endlessly knowing posture at his words’ worth and confusing his version of events with the events that others would recognize. His phrases may seem to be those of the same man, whose rich verbal stock would have little value without his ubiquitous first person pronouns. But they turn out to be configurations, much more complex than are found in many memoir-novels, of different consciousnesses, some of which Humbert controls fully or partially and some he does not control at all. Humbert determines his own presence in three forms: (1) the character who has the solipsistic experiences with Lolita; (2) the teller who has distanced himself from, and changed his attitude to, these experiences before he starts his tale, but withholds an overt statement on this development until the fifty-sixth day of his creative enterprise; and (3) the artist who moves even further outside his solipsism as he writes and reads his memoir. So while Humbert’s narration ostensibly maintains a broadly straight chronological line, it splits time and runs at different speeds as it holds three sets of perceptions endorsed by him at some stage or another. The tale’s now is simultaneously: (1) the accurately reported state when he was “moved to distraction by girl children” (p. 19), which he wished then would never end, “Let them play around me forever” (p. 21); (2) the life 92 SEEING THROUGH HUMBERT which is past and from which he has become separated “by the time of my arrest” (p. 16), and wishes had been different, “Oh, Lolita, had you loved me thus!” (p. 14); and (3) the parenthetically noted present of his narration, which he treats sometimes as an oral and at others as a written act, “Ladies and gentlemen of the jury, . . .” (p. 9), “I leaf again and again through these miserable memories, . . .” (p. 13). Clues to these time shifts occur in the first six chapters, where all these citations are found along with the hint on how to view them contained in my epigraph. These are unlikely to be given sufficient weight, though, by most first-time readers, who probably become preoccupied with Humbert’s preoccupation with nympholepsy, as well as distracted by his mesmerizing performance as a character. His changes of mind are the origin of some inconsistencies of attitude and emotion in his story, often noted and attributed variously by commentators to Humbert’s slick verbal deviousness, hypocrisy, or miraculous deathbed moral enlightenment. But we need not rely only on semantics; there is much evidence to go on within Humbert’s various styles. Humbert deserves a better press than he often gets for the integrity with which these changes in his position are corroborated within the verbal texture of his writing. The substance of his language dynamically reflects his varying interior states for, as a consummate romantic artist, his styles become the signature of his mobile consciousness. Changes embedded in the linguistic properties of his memoir participate centrally in adjusting its meaning at different points, whether or not this is his wish. In addition, Humbert’s unstable perspectives are compounded by two further voices that he does not manipulate, those of his – as he claims – Lolita, and the judgmental Nabokov. They make contributions to his writing that provide interpretive keys not sanctioned by him, since he is kept ignorant of their presence in his pages. Consequently, readers are required to discriminate at least five sets of attitudes which merge and diverge and become mutually challenging and mutually modifying. Lolita, often mistaken for a singular, unified and univocal text, comprises plexiform narrative materials existing in a state of disturbance and fluidity requiring constant “focal adjustment” (Nabokov 1989, 17) by readers to understand the teller’s relationships and their own, all of which move as reading progresses, to the illusions and allusions in the tale’s rich interweaving of styles.5 Only when the tale is completed are we provided with the hindsight needed for full retrospective reorienation. In an elegant self-contradiction, the novel masquerading as the defense of an author allegedly set on averting a death sentence comes to full maturity by giving birth to readers quick enough to master the disorientation the condemned man engenders.6 The narrative’s complicated vacillations of perspective eventually submerge the distinctiveness and autonomy of the flamboyantly obtrusive voice of Humbert the sexual pervert and child abuser, which dominates the bulk of his pages, and become the means by 93 TONY MOORE which the text revises and repudiates its reprehensible, exclusionary attitudes. Humbert rebuts his own twisted nature and falsehoods in a reconsidered view of his story that articulates sympathy and endorsement, instead of condescension and disparagement, for Dolores. This essay does not claim to expose all the secrets kept hidden from commentators until now. Lolita remains a delightfully baffling book that seems bent on subverting critical faculties as it revels ostentatiously in laying false trails and in shifting, rather than fixed and absolute, answers to its narrative riddles. Nor does the argument go quite as far as suggesting that Lolita could be co-opted in clear support of many of today’s liberal feminisms. But it does explain some focal adjustments that can be made to sustain a strong reading that rests on the book’s moral foundation and is, consequently, completely out of sympathy with the narrator’s chauvinist presumptions in much of the book. Narrator and narrated The Humbert who tells much of the tale is imprisoned within his own masculine rhetoric. He cannot avoid the obvious and crucial disadvantage he shares with all first person narrators who aim to mislead others from the imagined security of their own delusions: he is both the narrator and the narrated. He is constantly displaced by, and deceived within, his writing. As he struggles to control us by insisting his memoir contains the authentic life led by him and his characters, his narrating both empowers and imprisons him. The freedom he takes with his pen to shape events leaves him a marked man. His efforts to take full possession of the tale are frustrated; he is trapped not only within his obsession, but also within the fluid and mobile memoir he writes as it generates readers equipped to make the focal adjustments demanded by the tale’s complexities. Humbert expects to show a sophisticated, cultured hero worthy of our compassionate understanding and endorsement, but words fail him time and again. His self-portrait puts on display a character constricted in the straitjacket of conventional masculinity, insistent that the urges of his malevolent male will are an imaginative response to the inhuman mysteries of woman and her female sexuality. I reread Lolita while I was also reading Camille Paglia’s Sexual Personae; there are some striking, although fortuitous, parallels between the two books.7 The unwitting mimicry of Paglia’s central concerns in Humbert’s prose is so close and extensive that I almost found it necessary to check who speaks in which book. The “true nature” of his “chosen creatures . . . is not human but nymphic (that is demoniac)” (p. 13). The nymphet is discerned by the “ineffable signs,” clear only to the artist or madman – “the little deadly demon among the wholesome children; she stands unrecognized by them and unconscious herself of her fantastic power” (p. 17). Paglia glories in 94 SEEING THROUGH HUMBERT the claim that “sex is daemonic” (Paglia 1991, 3), not evil, or rather both good and evil, like nature itself (Paglia 1991, 4). Both writers recognize a realm of power that invades the human world yet seems unconnected to human origins or human ends and remains outside the control of conventional developed social reality in the West. Humbert thinks he harnesses this power; but he is at its mercy, as he is transported to another realm which he feels is supreme, incapable of definition: “For there is no other bliss on earth comparable to that of fondling a nymphet. It is hors concours, that bliss, it belongs to another class, another plane of sensitivity” (Nabokov 1989, 166). Yet, at the same time, it is hellish, like the worst torment imagined by humankind: “Despite . . . the vulgarity, and the danger, and the horrible hopelessness of it all, I still dwelled deep in my elected paradise – a paradise whose skies were the color of hell-flames – but still a paradise” (p. 166). Conflicting impulses animate Humbert’s created world. Exultation and dread give birth here to encomia interrupted by a panic response to the darker mysteries involved in woman outside and beyond man’s control, acknowledged in hors concours. Perhaps “[s]ex is the point of contact between man and nature, where morality and good intentions fall to primitive urges” (Paglia 1991, 3). Humbert has been taken out of his own individuality on the morning of his Enchanted Hunters orgy when he gloats “that every nerve in me was still anointed and ringed with the feel of her body – the body of some immortal daemon disguised as a female child” (Nabokov 1989, 139). He experiences Lolita as a Paglian daemonic archetype: Daemonic archetypes of woman, filling world mythology, represent the uncontrollable nearness of nature. Their tradition passes nearly unbroken from prehistoric idols through literature and art to modern movies. The primary image is the femme fatale, the woman fatal to man. The more nature is beaten back in the west, the more the femme fatale reappears, as a return of the repressed. She is the spectre of the west’s bad conscience about nature. She is the moral ambiguity of nature, a malevolent moon that keeps breaking through our fog of hopeful sentiment. (Paglia 1991, 13) “The beastly and the beautiful merged at one point” (Nabokov 1989, 135). There is much contradiction and ambivalence in Humbert’s account of “nymphet love” (p. 135); yet, despite his paean to nymphets, he sticks mostly to his conception of female flesh as the devil’s work, equated with original sin. The Old Testament history’s traditional pessimistic view of humankind born unclean with a propensity for evil is very much alive in him. Dolores walks into the Haze living room – to be turned into the instrument of his extended orgasm – “holding in her hollowed hands a 95 TONY MOORE beautiful, banal, Eden red apple” (pp. 57–58). They play about with this forbidden fruit and he measures success with his furtive self-manipulation when “the least pressure would suffice to set all paradise loose” (p. 60). Then, in daydreams about the unlimited access to Lolita opened by the prospect of marriage to her mother, he celebrates an ideal sexual freedom when all restrictions on him are subsumed by his lover: “before such a vastness and variety of vistas, I was as helpless as Adam at the preview of early oriental history, ravaged in his apple orchard” (p. 71). Humbert strengthens this Adam-Lileth-apple excuse in exoneration when he draws attention to Dolores’s choice of the gingham dress “with a pattern of little red apples” (p. 111) the day he takes her away from Camp Q and again after their first motel sex. “Lo and Behold” (p. 162). His alibi further corroborates its universal origins in his preoccupation with physiological sex differences. His references to, but inevitable failure to explain, the different biological realities that separate him from his nymphet are responses to the hidden in woman. He reveals symptoms of an advanced state of what Paglia diagnoses as an endemic male condition: “men’s delusional certitude that objectivity is possible is based on the visibility of their genitals . . . [which] is a defensive swerve from the anxiety-inducing invisibility of the womb” (Paglia 1991, 22). She elaborates on the ineradicable consequences of these natural facts: The female body’s unbearable hiddenness applies to all aspects of men’s dealing with women. What does it look like in there? . . . Mystery shrouds woman’s sexuality. The mystery is the main reason for the imprisonment man has imposed on women. . . . Sex crimes are always male, never female, because such crimes are conceptualizing assaults on the unreachable omnipotence of women and nature. (Paglia 1991, 22) So Humbert’s attempt to dominate and incarcerate Dolores is an unlearned behavioral characteristic, originating in a compulsion to conceptualize the threatening difference in reproductive organs. He gropes his way in dense psychological undergrowth with no visible means of support. He not only keeps her in captivity for two years because of the anxiety induced by her mysterious femaleness, but also twice imagines finding out what it looks like in there! He conjures up her insides as a kind of precoital light show in the car journey to their first motel night as he observes that her “lovely prismatic entrails had already digested the sweetmeat” (Nabokov 1989, 116). And in the second chapter of Part Two, by now accustomed to devouring all that he wants, he drools regret that he cannot get at the juicy, succulent, and sweet mixed grill promised by her offal. “My only grudge against nature was that I could not turn my Lolita inside 96 SEEING THROUGH HUMBERT out and apply voracious lips to her young matrix, her unknown heart, her nacreous liver, the sea-grapes of her lungs, her comely twin kidneys” (p. 165). Humbert is a skillful advocate for nature, besides this complaint that it does not provide for all his appetites. “The daemonism of chthonian nature is the west’s dirty secret” quips Paglia in a Humbertian apothegm (Paglia 1991, 6).8 Humbert speaks out against taboos that normally frighten or overwhelm us. He applies much of his wicked humor and richly witty rhetorical resources to washing his filthy secret on the public page and reminding us that his sexual desires are deep, dark, dirty, and destructive. That is the trouble with Humbert: he is tauntingly immoral, deeply unpleasant and exploitative; but his memoir engages our better selves in its unfathomable complexity and devious subterfuge. We can hardly avoid reacting against his prose as it enacts the abuser’s process of deliberate and sustained coercion of the victim to do the will of the victimizer. His erotic fantasy brings a wonderful whiff of cleansing stale air into the Norman Rockwellian images of the American clean-cut family circle. “I am just your old man, a dream dad protecting his dream daughter” (Nabokov 1989, 149). Judgments are refined, not blunted, by the brazen deceit of his linguistic pressure and extra vigilance is brought into play against abuses which are usually ignored or condoned with polite silence.9 Narrative function of Dolores “Lolita had been safely solipsized” (p. 60), claims Humbert in a solecism embodying the essence of his sense of entitlement. He invents an incongruous, spuriously authentic intransitive verb with which to fix her status as object. He passes counterfeit coinage in characteristic lexical sleight of hand smoothed by alliteration. This deceptively simple sentence, with its etymological pun carrying multiple significances, incorporates, as it acknowledges and turns to creative advantage, the main rhetorical convictions of Humbert the child abuser. He either cannot or will not grant preadolescents and readers, events and language, any predominant values in and for themselves; they are manipulated only to keep them oppressed within his subjectivity. The pervert has to use perverted narration to realize his perverted world. But Dolores cannot be “solipsized.” No language he can devise is fixed enough to subordinate her entirely; in fact she emerges most strongly when Humbert least expects it and completely undermines the credibility of his understanding of his experiences in Part One. For instance, he expresses in eager hyperbole his detumescent relief on the couch: “Blessed be the Lord, she had noticed nothing!” (p. 61), deaf to his own words that have just given clear outward confirmation of her agitated libido, “she cried with a sudden shrill note . . . and blinked, cheeks aflame, hair awry!” (p. 61). His 97 TONY MOORE lust keeps him ignorant that the object of his desire is aroused herself. Then again, Dolores’s voice is present and articulate throughout the climactic episode at the Enchanted Hunters. Expectations of titillation may throw readers’ concentration off balance during the diversion through twenty-six pages of cunning manipulation between the plan of rape, “My scheme was a marvel of primitive art” (p. 106), and some unspecified consummation, “by six fifteen we were technically lovers” (p. 132). Consequently, the heroine’s polyphonous cries for help probably pass by most readers first time, just as they do Humbert, twice – at the time his story occurs and as he writes his memoir. She is troubled by ambivalent and conflicting feelings resulting from her first penetrative sexual experiences with Charlie Holmes at the camp and, unable to make much sense of the turbulent mixture of furtive excitement, pride, enjoyment, curiosity, and guilt stimulated by her initiation into this part of the adult’s forbidden world, she looks repeatedly for adult guidance. She tries pseudo adult talk, “ ‘Fact I’ve been revoltingly unfaithful to you, but it does not matter one bit, because you’ve stopped caring for me anyway’ ” (p. 112); baby talk, “ ‘Bad, bad girl’ said Lo comfortably. ‘Juvenile delickwent[’]” (p. 113); Humbertian jocular pastiche, “ ‘I am a friend to male animals . . . I am absolutely filthy in thought, word and deed’ ” (p. 114); Charlotte’s coy and pretentious syntax, “ ‘C’est. Except for one little thing, something I simply can’t tell you without blushing all over’ ” (p. 115); and direct appeal, “ ‘Oh I’ve been such a disgusting girl. . . . Lemme tell you –’ ” (p. 123). Her persistence flagrantly contradicts Humbert’s notion of a nymphet on an island of entranced time, yet his erotic fantasy so enslaves him it blots out all else at the time of the experience and also when he writes recollecting in captivity. Of course, his tunnel vision is a joke that runs throughout the novel, providing artistic plausibility for most of the outlandish developments in the storyline. But Nabokov creates some exquisite moments by foregrounding this trait and subverting his narrator at the twin peaks of his triumph. Humbert’s physical and narratorial climaxes are diminished within his own words. Dolores asks to be kissed and offers “hot, opening lips,” forward behavior so out of keeping with his conception of nymphets that he has to reclassify the experience as “but an innocent game on her part, a bit of backfisch foolery” (p. 113). Locked into his “hermetic vision” of the virginal – “my nymphet, my beauty and bride” (p. 123) – he is oblivious to the preposterous position he puts himself in. The dramatic irony is thickly spread at his expense when he palms off a sleeping pill as a virility aid to the unvirginal homo- and heterosexually aware sub-teenager who has already enjoyed servicing Charlie that morning: “I had hoped the drug would work fast. It certainly did. She had had a long long day, she had gone rowing in the morning with Barbara . . . – and had been active in other ways too” (p. 122). He is so bound up in himself that Dolores’s bold initiative in masturbating him in the early morning after an uneventful 98 SEEING THROUGH HUMBERT night brings her no credit. Her boisterous, uninhibited enjoyment of a newfound freedom earns a supercilious sneer, “My life was handled by little Lo in an energetic matter of fact manner as if it were an insensate gadget unconnected with me” (pp. 133–134). This emerging but still immature sexuality shows on the simplest level that the female character is neither subjugated nor humiliated at this point. Yet her part in the sex is so unsettling to Linda Kauffman in her 1992 essay that she wants to censor it from the book: “it is doubtful his claim that Lolita seduced him is true; more important it is unverifiable” (Kauffman 1992, 60).10 This is an example of the critical perversity that Lolita still attracts. Nabokov chooses to stress the difference between literature and life and does so with imagination and clarity. The conspicuously bogus verisimilitude of Ray’s “Foreword” primes readers for entry into a fictional maze with no easy way out. The narrating character as a boy of thirteen who “wanted to be a famous spy” (Nabokov 1989, 12) is father to the man who enjoys “trifling with psychiatrists; cunningly leading them on; never letting them see that you know all the tricks of the trade” (p. 34). Humbert points out repeatedly in his early chapters that he is not to be trusted. He is not an ordinary liar but a Cretan liar, so habituated to dissembling that even he is unsure at times if he is telling the truth about telling lies or telling lies about telling the truth. Such explicit reminders that this novel cannot be verified should delight us. The fictionality of Humbert’s story is advertised with more blatant honesty than most characters receive from their creators. “Imagine me; I shall not exist if you do not imagine me” (p. 129) brings home the tenuous connection between this fictional author’s memoir and outward “reality.”11 Not much fiction, and none of Humbert’s narration, can be subjected to empirical verification. However, there is an internal consistency in the part Dolores plays in this scene which makes her role of seducer tenable and substantiates her narrative function in providing a view of events that undercuts Humbert. She is venturing into the mysteries of adult sex, uncertain but intrigued and so signaling, in another irony crushing the putative author, the end of her nymphancy. She lives in the mundane “world of tough kids” (p. 134), a reality unconnected to his “intangible island of entranced time” (p. 17). Humbert’s values are personal, solipsist in the extreme, only concerned with the nympholept’s self, so he is unconscious that his erotic symbol is in full flight from him well before the moment he is sure he possesses her. She willingly participates in what she prosaically calls “doing it” three times in the Enchanted Hunters bed between 6:15 and 10 am. These are the first and last occasions she fucks with, or in conjunction with, Humbert, with the male as an object to her, just as she is to him.12 Her good-hearted natural response from this position of equality is affirmed by the relaxed account she gives of her sexual adventures to date (pp. 135–137) and is still apparent just after they check out as she jokes, “I ought to call the 99 TONY MOORE police and tell them you raped me. Oh, you dirty, dirty old man” (p. 141). Humbert, even in his mindless insensitivity to Dolores as a separate complex individual, acknowledges that his obsession will become selfconsuming. He is aware that he has slaughtered at birth the prospect of endless stimulated desire and requited pleasure, “It was something quite special, that feeling: an oppressive, hideous constraint as if I were sitting with the small ghost of somebody I had just killed” (p. 140). After his extended orgasm he had been enraptured by his “own creation, another, fanciful Lolita – perhaps more real than Lolita” (p. 62). Now he knows his fleeting erotic fantasy will not nourish and sustain him for long. Narrative judgment Dolores is even less “safely solipsized” in Part Two, as we see once we make the focal adjustments that refute Humbert’s bilious discourtesies trying to turn her into “a most exasperating brat” and “a disgustingly conventional little girl” (p. 148). She is conventional, in wanting what other adolescents have and to stop “doing filthy things together and never behaving like ordinary people” (p. 158). She learns she can put no faith in those she ought to trust, as she is denied all the normal prerogatives of a middle-class white girl growing up within a recognized social system. It is remarkable after what Humbert puts her through that she sustains her crush on Quilty and encourages him as a lover, seems to enjoy sex with him, and can outwit Humbert in resource and deceit to get it regularly. In preparing for the school production of The Hunted Enchanters and afterwards at Kasbeam, Champion, and Wace, she is mistress of the adult art of adultery, nicely giving the lie to her own understated claim to be “a fast little article” (p. 222). “By permitting Lolita to study acting, I had, fond fool, suffered her to cultivate deceit” (p. 229). There are many more delicious ironies deflating Humbert as she plans and executes the new journey west to Elphinstone in conspiracy with Quilty. This enterprise charges her with renewed vitality. “And there she sat, hands clasped in her lap, and dreamily brimmed with a diabolical glow that had no relation to me whatever” (p. 214). The daemonic archetype is again hors concours, but for another’s benefit. This second quest transposes the places of hunter and hunted in Part One; Humbert the enchanted hunter becomes the hunted enchanter. Dolores and Quilty write the rules for the games in the central section of Part Two, where she emerges as the successful strategist and playmaker, with skills that leave Humbert floundering as the crazed victim. The girl is robustly cheerful during the charade up to her hospitalization, while Humbert describes the perpetual torments he suffers as he wills into existence his worst fantastic fear of becoming a deceived lover. She wins the upper hand in their weird relationship; victim turns taunter, shrewdly exposing the limits to the hero’s much claimed adult intelligence. 100 SEEING THROUGH HUMBERT Does Nabokov make Humbert’s perversion so attractive it could create depraved, inordinate, and lustful desires and corrupt male readers more susceptible than I was as a schoolboy? Is his narrative complicit in and even contributive to collective injuries on girls like Dolores? And does he help make victims of them all? Paglia points to an opposite, beneficial, and renewing effect of all art that shocks.13 She provides one understanding of how Humbert’s untrustworthy writing can have self-thwarting effects. His inspired defense of the legally and morally indefensible remains a fiction, but it exposes by extension the dark chthonian drives in the oppressive male when on “that plane of being where nothing mattered, save the infusion of joy brewed within [his] body” (p. 60). His characterization supports the validity and urgency of Paglia’s assertion, which she propounds to justify raw sex in art. “Nature is waiting at society’s gates to dissolve us in her chthonian bosom” (Paglia 1991, 39). She throws a direct challenge to those who advocate any kind of cultural policing with a variation on Aristotle’s analysis of the benefits of catharsis in classical tragedy: Out with stereotypes, feminism proclaims. But stereotypes are the west’s stunning sexual personae, the vehicles of art’s assault against nature. The moment there is imagination, there is myth. We may have to accept an ethical cleavage between imagination and reality, tolerating horrors, rapes, and mutilations in art that we would not tolerate in society. For art is our message from the beyond, telling us what nature is up to. (Paglia 1991, 39) “Lolita has no moral in tow” (p. 314) asserts Nabokov dogmatically, but I remain unconvinced, except in the limited literal sense too self-evident to need stating, that the book does not trail a message; were one visible we would have been denied the furious and continuing critical debate I outlined at the start. But there is an obvious difference between having no overt moral and having an amoral position.14 I discern the judgmental Nabokov often disowning Humbert’s foolish vanity and distancing his narrative from his character’s obfuscatory disregard for right and wrong. For example, there is a pre-emptive strike, an Old Testament type emblematic pointer to the irreparable wrong Dolores suffers, placed within Ray’s obituary announcement, through which readers are given a consummate sense of a neat ethical fictional ending even before Humbert begins his tale: “Mrs Schiller’s death in childbed, giving birth to a stillborn girl, on Christmas Day 1952” (p. 4). The vainglorious deception in the narrator’s fancies that allows him to believe he has created “another, fanciful Lolita – perhaps more real than Lolita” (p. 62) spins out of his control and reaches an insane terminal condition when his reach for fluent language is snatched from his previously sure grasp. Broken syntax and lame prose 101 TONY MOORE rhythms enact the mania in babble about his natural child’s child receiving the benefit of his perpetual potency: “bizarre, tender, salivating Dr. Humbert, practicing on supremely lovely Lolita the Third the art of being a grandad” (p. 174). “Can we really be surprised that readers have overlooked Nabokov’s ironies in Lolita, when Humbert Humbert is given full and unlimited control of the rhetorical resources?” (Booth 1983, 390). Wayne C. Booth takes it for granted that he cannot be denied. But I react to the critic’s wrong-headed assertion with “excuse me, yes, because he is not, not by a long stretch.” The book is remarkable for the complex ways, some of which I have mentioned, in which the narrative tempers or mitigates its focalizing character’s control. Nabokov’s text lacks the imaginative sympathy with which postmodern authors often present seriously flawed, sexually absorbed or deviant leading characters.15 Lolita, in contrast, fosters criticism of Humbert that becomes increasingly substantial as the narrative glosses, controls, and finally rebalances the character’s licentious thought patterns. This narrative’s jaundiced view of its storyteller’s limitations emerges through Part Two in subtle and unsubtle, small and large devices. Humbert, the master of allusion, has his favored method of displaying literary superiority turned against him by those who surpass his skill, confident he will not recognize their references. He is up against bright, inventive and literate adversaries, both inside and outside his story, with the sense of decency to give him a sporting chance in their word games. Yet his lust obstructs his concentration when the clues lie thickest on the ground. Take the visit to the Wace summer theatre. “I remember thinking that this idea of children – colors had been lifted by authors Clare Quilty and Vivian Darkbloom from a passage in James Joyce, and that two of the colors were quite exasperatingly lovely” (p. 221). Humbert can be excused blindness to the anagrammatic appearance of Vladimir Nabokov pointing at him ironically. But his boasted familiarity with the European literary canon might have encouraged him to make more of Quilty’s theft from Chapter 9 of Finnegans Wake. Nabokov leaves Joyce’s fingerprints all over this scene to invite a parallel between two painfully obtuse characters, Shem the Penman and Humbert the autobiographer. Joyce’s rainbow girls play a tug-of-love and marrying game – “Angels, Devils and Colours” – adding sexual spice by making the Angel’s drawers heliotrope, the color the Devil (Shem) must guess.16 The author allows his narrator to reach the right end of the spectrum with the soubriquet “my own ultraviolet darling” (p. 221), but denies him the further enlightenment that would have come with more assiduous pursuit of the correspondences with Joyce’s victim. Joyce makes the inadequate intelligence of Shem obvious with his repeated failure to find the answer to the girl’s riddle; “what she meaned he could not can” (Joyce 1939, 225) and Nabokov gives Humbert a close family resemblance to his precursor. “It’s driving her dafft like he 102 SEEING THROUGH HUMBERT so dumnb” (Joyce 1939, 225) is echoed by “ ‘Sometimes,’ said Lo, ‘you are quite revoltingly dumb . . .’ ” (Nabokov 1989, 221) as she enjoys her barefaced lies and Humbert’s discomfort. He creates a fanciful tormenting fiend now who, like Lolita earlier, is more real than the real thing: “ ‘I thought,’ I said kidding her, ‘Quilty was an ancient flame of yours, . . .’ ” (p. 221). He only had to connect Quilty to his own parody of “Her boyfiend or theirs, if they are so plurielled, cometh up as a trapadour” (Joyce 1939, 224), to uncover an intertextual clue pointing to Dolores’s duplicity.17 A scathing Nabokovian wit keeps Humbert oblivious that Lolita is liberated from his clutches on the Fourth of July, Independence Day; although he notes “there was some great national celebration in town, judging by the firecrackers” (Nabokov 1989, 245), he remains too myopic to make the connection even when the landlady dates Quilty’s check out (p. 249). Some flaws in the defense he might have pleaded had he come before the jury become apparent. Assuming he might have some “unbiased readers” (p. 285), even they may suspect, yet be unable to prove, economy with the truth in the inspired verbality of his self-representation as an homme fatal, “a great big handsome hunk of movieland manhood” (p. 39). But no one can mistake the negative authorial judgment on his narcissism, and on all the self-aggrandizing priapic fantasies of the narrator and others who share his attitudes, when Nabokov grants Humbert a ludicrous excess of masculinity in allowing him to exaggerate the likely size of his penis by close to 100 percent: “I was to her not a boyfriend, not a glamour man, not a pal, not even a person at all, but just two eyes and a foot of engorged brawn –” (p. 283). The average length in its erect state of the white European male member is six and a half inches (Porter 1985, 34). This verbal enlargement of his small piece of flesh reduces to absurdity the legend of the phallus, depending as it does on a willing suspension of disbelief, a collusion to deny the reality that no penis can live up to its fabulous mythical importance. So Nabokov diminishes the singularity and power for which the phallus is generally a metaphor in male-centered literature in the same graceful and complex irony that cuts Humbert down to size.18 Narrative revision Kauffman, a self-styled “materialist-feminist” (Kauffman 1992, 68), attacks Lolita for endorsing Humbert’s “rhetorical ruses” to suppress Lolita’s presence: the novel [Lionel] Trilling heralded as the greatest love story of the twentieth century in fact indicts the ideology of love and exposes literature’s complicity in perpetuating it. The answer to the question, “Is there a woman in this text?” is no. But there was a 103 TONY MOORE female, one whose body was the source of crimes and puns, framed unsettlingly between the horror of incest and aesthetic jouissance, between material reality and antimimesis, between pathos and parody. That body was not a woman’s; like Lolita’s stillborn baby, it was a girl’s. (Kauffman 1992, 76) This conclusion to her combative essay rests on some false and questionable premises and occasional abuse of the text. Her fierce opinions need to be subjected to keen scrutiny and some rejected outright, for it is she who erases Dolores. Kauffman disqualifies herself as a reliable witness by castigating a book Nabokov did not write; she either misrepresents or ignores many of the last forty pages of Humbert’s memoir. Consider the letter Dolores sends from Coalmount, printed in full as it was written (Nabokov 1989, 266). This is the only occasion in the novel when she is heard unmediated; Humbert does not interfere and allows her “small matter-offact voice’’ (p. 266) to speak without the patronizing prejudice that he throws in the way of “Farlow’s hysterical letter’’ (p. 265), delivered at the same time. The dignity in the brisk account of her position is impressive; she is devoid of self-pity and recrimination: “I have gone through much sadness and hardship./ Yours expecting,/ Dolly (Mrs. Richard F. Schiller)’’ (p. 266). Her simple tact in broaching her need for money seems to strike Humbert immediately. He spares her words the splenetic commentary he has customarily poured on anything other than his own thoughts and feelings. The real Dolores is before him ready to take the place of the fallacy. Kauffman’s desire to kick Humbert is difficult to follow, since he spends much of the novel putting himself down. The character’s active reconsideration of his sexual and narratorial perversions reaches a crucial point in that short chapter (Nabokov 1989, Part Two, 31), occupying a single paragraph in less than a page, which recounts near the start “I reviewed my case. With the utmost simplicity and clarity I now saw myself and my love. Previous attempts seemed out of focus in comparison” (p. 282). Humbert then names “his’’ love properly as he claims how much it matters that “Dolores Haze had been deprived of her childhood by a maniac’’ (p. 283; emphasis added). Immediately he reclassifies his love as lust and goes on to a chapter of “other smothered memories” (p. 284) in which Lolita’s words are reported directly in quoted monolog and dialogue and with third person attribution of her realization that “even the most miserable of family lives was better than the parody of incest” (p. 287) Humbert had offered. I am not as convinced as some that this point marks a stage in Humbert’s moral evolution; but his decision to scrutinize his nympholepsy here is unarguable.19 Memory is about therapy as well as remembrance, and mends itself with its own focal adjustments. In Part Two, Chapter 32, he voluntarily employs what today is called recovered memory. This 104 SEEING THROUGH HUMBERT professionally endorsed contemporary tool is anachronistically apposite here in Humbert’s tale; it allows both the abuser’s memories and his victim’s voice to be heard as they reflect back on experiences mediated previously only through Humbert’s eulogies. Kauffman’s polemical argument seems to be pressed in service of a wider cause. Her contempt for the pathology in Humbert’s characterization may lead her to employ hostility to Nabokov’s entire fiction as part of a campaign against institutionalized male oppression in the world outside the narrative. But since Lolita is not another case of men silencing women, her offensive dissipates rather than stimulates concern in the important debate on how women have been unnaturally weakened by a history of sexual exploitation. There is no “complicity” between this novel and its narrator’s manipulation; there is no obliteration of Dolores; nor, finally, is there passive endorsement by this character of his criminal history. He comes to see that his mind has been obsessed only with its own figments and disavows his elaborate artifice through a significant move in his last two-and-a-half pages. Humbert recalls a scene, “a last mirage of wonder and hopelessness . . . soon after her [Lolita’s] disappearance” (p. 307), when he had listened to the noises of ordinary humanity rising from a small mining town as he looked down on its “friendly abyss” (p. 307): I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita’s absence from my side, but the absence of her voice from that concord. This then is my story. I have reread it. It has bits of marrow sticking to it, and blood and beautiful bright-green flies. At this or that twist of it I feel my slippery self eluding me, gliding into deeper and darker waters than I care to probe. (p. 308) This is one of the most illuminating moments in the book, calling for a decisive focal adjustment through retrospective reorientation.20 The narrator looks into his memoir from the high vantage point of the penultimate page and acknowledges his theft of the girl’s childhood. He no longer writes in the indecorous, thrusting “fancy prose style” (p. 9) he vaunted from the first page. He puts aside alliteration and word games, although that first sentence has enough assonance and elegant balance to testify this is Humbert’s stylish natural voice, rather than one of many impersonations his earlier writing shows him able to turn on. His language is tasteful and reticent, devoid of the Humbertian trademarks of parody, self-parody, cynicism, satire, disdain, double entendre, and scornful desire to display how many more books he has read than his readers. This relatively 105 TONY MOORE restrained prose comes after, and as a reaction to, a reconsideration of his own floridly told case-history, which has exposed the true nature of his pretenses and delusions. His reading has given him a fresh focus, empowering him to separate fact from fantasy, his own banal reality from the uncertainties created in his fiction, narrative development from maudlin self-justification. He has uncovered the deceptions and suppressions, “his slippery self” in motion in his own writing and silently encourages readers to do the same so they can understand their relation to the story as well as his. If we reread, Humbert implies, we shall get behind his deviant words to where the writer has been and see the origins of his writing. He becomes part of the dead past “like the bits of marrow [. . .] and blood” sticking to his story, yet the text he has created needs to be completed by us as he passes away. Humbert was right to perceive that there was “nothing for the treatment of my misery but the melancholy and very local palliative of articulate art” (p. 283). Art undoes the self by the simultaneous doubling of identity and annihilation, for the process of writing becomes a process of self-obliteration. Joyce anticipates this discovery when he mocks autobiographers, disputing the notion that the best way to justify the self is to embark on confessions. In a chapter in Finnegans Wake before that which Humbert remembered in Wace, Shem writes with the ink of his own excrement, “through the bowels of his misery,” on “the only foolscap available,” his own flesh, only to find that he disappears: flashly, faithly, nastily, appropriately, this Esuan Menschavik and the first till last alshemist wrote over every square inch of the only foolscap available, his own body, till by its corrosive sublimation one continuous present tense integument slowly unfolded all marryvoising moodmoulded cyclewheeling history (thereby, he said, reflecting from his own individual person life unlivable, transaccidentated through the slow fires of consciousness into a dividual chaos, perilous, potent, common to allflesh, human only, mortal) but with each word that would not pass away the squidself which he had squirtscreened from the crystalline world waned chagreenold and doriangrayer in its dudhud. (Joyce 1939, 185–186) He literally writes himself, scrawling his flesh upon his flesh. His real identity unfolds from, yet is obscured by, the obscene matter that hides the self behind itself only to expose itself more flagrantly in incontinent selfdisseminations. Similarly, Humbert, a polypseudonymous heir to Shem’s penmanship, becomes guilty of involuntary and indecent exposure. His autobiography enacts the disfiguration of his life: the “squidself” is “squirtscreened” by its own ink that will not pass away since his writing must use it in repro106 SEEING THROUGH HUMBERT ductive activity. The “dudhud’’ is the inevitability of failure of his attempt to obscure; the deed is a dud in the making, a weakness inherent in its patriarchal dadhood.21 This became apparent once he assumed the reader’s role. Thus distanced, he realizes his story exposes him, and that readers warrant better than his earlier strategies of manipulation; decoding of the “hideous hieroglyphics . . . of [his] fatal lust” (p. 48) is part of the entire experience of his work. Clear recognition of the inevitable fictionality of his writing destabilizes his own narrational performance, which now doubles back on itself and encourages revised critical assessments. He gives these a further nudge with his unambiguous self-sentence: “Had I come before myself, I would have given Humbert at least thirty-five years for rape, and dismissed the rest of the charges” (p. 308). Maudlin insincerity? A facile appeal for sympathy? Unlikely remorse? This prose contains no hard evidence that Humbert has discovered an absolute moral sense, but neither does it strike hollow notes of sham Humbertian attempts to exorcize guilt or a stagemanaged deathbed conversion. Trilling’s question of whether an inveterate liar is capable of a genuine confession of full responsibility invalidates itself. It is not necessary to give up scepticism about the narrator’s full repentance to recognize the revised view of the narrative encouraged here by the more straightforward style of the memoir.22 Humbert’s admission that he has reread his writing makes this sequence the inspiration for the decisive focal adjustment, a small paradigm of the larger reflective scrutiny the entire text requires before readers can fill in for themselves its gaps and fully locate its moral foundation. The book has to be read again before it can be read properly the first time. With the benefit of hindsight, we see that the narrator provides Dolores with psychological space of her own, repositions her centrally in the book, and fulfills his parting rhetorical promise as he faces his own extinction to “make [her] live in the minds of later generations” (p. 309). She lives in the mind, not as his exotic creation “another fanciful Lolita” (p. 62), but, with negligible verbal trickery, as she is in the discourse of her letter and in the memoir’s last direct encounter: familiar, conventional, and warmly human. In the Hunter Road scene (pp. 269–280) she has already experienced enough to make her very old, “hopelessly worn at seventeen,” dazed and resigned, “with her ruined looks and her adult, rope-veined narrow hands” (p. 277). The mind remembers her as the literal foregone conclusion of Humbert’s maniacal perversion. Although he cannot undo what he has done and write himself straight, she breaks free from those solipsized, warped sections of the memoir which aimed to suppress her as the nymphet waif. No longer a mere dummy to Humbert’s male ventriloquism, she emerges into the foreground of the narrative as a young woman with independent fictional life. 107 TONY MOORE Postscript My heart goes out to the abused colleague and distressed women readers movingly described in Elizabeth Patnoe’s fine and challenging essay. But I shudder at the consequences of literary judgments shaped by attention to anecdote, however compelling, and by public discussion of private anguish, however terrible the personal loss suffered. Lolita is paper and ink, not flesh and blood, and commentators may find good reason to avoid being drawn into Oprahatic exposure of the trauma of some readers, and away from the text. Many critics, whether enthusiastic or hostile, read the novel as a memoir about dangerous coercive social forces with which the central male character is irrevocably aligned. Support is then found in such reading for a spectrum of ideological causes, and Patnoe describes these fairly as misreadings. Yet it is not this text that promotes many of these misreadings, but predetermined polemics. Even if it is unrealistic to look for apolitical criticism, is it unreasonable to ask for social concerns to be balanced by sustained attention to what the author writes? I have argued that throughout the novel the narrator’s false assumptions of total control are undermined and that the end of Lolita is especially revealing. By then Humbert has actively given up his belief in a superior imagination that entitles him to manipulate his narration, other characters, and all readers. His sense of control is consciously acknowledged by him for what it always has been – criminally deluded. This may not satisfy those who would prefer the tragic matter that he narrates, notably incest, sexual slavery, and spousal abuse, to be glossed with unequivocal moral judgment. This fiction has no clear answer to these pressing social problems, but that does not prove it is unaware of them. Its reticence may show how well it understands their complexities. Notes 1 I am delighted to acknowledge the generous help given by colleagues in the Department of English at Boston University. Suzan Mizruchi fired me with enthusiasm for the project and guided it through the early stages. Julia Prewitt Brown, William C. Carroll and John T. Matthews disagreed penetratingly with a late draft and provoked me to reshape parts of the argument. All my readings of complex prose narratives are pervaded by John Paul Riquelme’s teaching. 2 The edition of Lolita in use throughout is the Vintage paperback (New York: Vintage International, 1989). All subsequent citations are given parenthetically with page numbers alone. 3 See Nabokov’s Afterword “On A Book Entitled Lolita” (Lolita 316). I was a day scholarship boy, so I am exempt from the rest of Nabokov’s peevish slur. 4 See, among others: Trilling (1958); Barnes (1959); McNeely (1989); Kauffman (1992). More comprehensive surveys of criticism can be found in Schuman (1979); Page (1982); Rampton (1984, bibliography 213–230); Tammi (1985, bibliography 365–382). 108 SEEING THROUGH HUMBERT 5 Humbert’s “focal adjustment” is used in context in the epigraph to this essay, the title of which nods towards the coinage “focalizations” in Genette (1972, 189–194). 6 See Roland Barthes’s “The Death of the Author” with its famous battle cry striking at the heart of traditional literary values: “the birth of the reader must be at the cost of the death of the Author” (Barthes 1977, 148). 7 Paglia’s Chapter 1 “Sex and Violence, or Nature and Art” (1991, 1–39) helped me to identify Humbert’s mythic male postures and to define the path of my argument. 8 “Chthonian” is one of Paglia’s key terms for that which dwells in the underworld of the earth’s bowels: “the blind grinding of subterranean force” (Paglia 1991, 5). 9 Christopher Ricks argues for the importance and potency of lying as a special paradoxical force creating pressure that recoils to emphasize the truth: “[lying] strikes at the roots of language and may strike, self-incriminatingly, at itself” (Ricks 1987, 373). 10 I use the later version of Kauffman’s essay. An earlier version was published in 1989. See Kauffman (1989). 11 “Reality,” Nabokov reminds in his Afterword “On A Book Entitled Lolita,” is “one of the few words which mean nothing without quotes” (p. 312). 12 By implication I take issue with Catharine MacKinnon. “Sexual objectification is the primary process of the subjection of women. It unites act with word, construction with expression, perception with enforcement, myth with reality. Man fucks woman; subject verb object” (MacKinnon 1983, 25). In order for her proposition to hold she suppresses the lively American English construction to fuck with: subject verb conjunction object, used equally by men and women subjects. 13 Only Words (MacKinnon 1993) makes an eloquent, vitriolic statement of the case against this view. MacKinnon maintains that speech acts can be implicitly part of violence; in context they can commit violence. 14 There is evidence outside this narrative that Nabokov believed he had created “a highly moral affair.” See his correspondence with Edmund Wilson (Nabokov and Wilson 1980, 296, 298). 15 Some examples chosen at random are: Cholly in Toni Morrison’s The Bluest Eye (Morrison 1970); Alexander Portnoy in Philip Roth’s Portnoy’s Complaint (Roth 1967); Sebastian Dangerfield in J. P. Donleavy’s The Ginger Man (Donleavy 1958); Harry Angstrom in John Updike’s Rabbit, Run (Updike 1960) and the three subsequent Rabbit novels. 16 Carl Proffer points out that Humbert lifts too; his “ecstatic description of his first night alone with Dolores is a paraphrase of a passage from the Nickspub scene of Finnegans Wake” (Proffer 1968, 135). See Eckley (1985) for a fuller account of Joyce’s use of the game. 17 I benefit from the impressive scholarship in Alfred Appel’s indispensable edition The Annotated Lolita. But his predeliction for the peremptory in critical statements, sealed with the author’s approval, aims to bury enquiry which needs to be kept alive. The infallible judgments in his notes should be read skeptically. Here is just one example where this formidable couple is not to be trusted: “. . . said Nabokov, for, ‘Generally speaking, FW is a very small and blurry smudge on the mirror of my memory’ . . . The ‘children-colours’, however, constitute the only intentional allusion to Finnegans Wake in Lolita” (Appel 1991, 414). 18 Much of this paragraph is lifted from the present writer’s “How Unreliable Is 109 TONY MOORE 19 20 21 22 Humbert in Lolita” in Journal of Modern Literature XXV:1 (Fall 2001) © Indiana University Press, 2001, and is used with permission. See, for instance, Alexandrov (1991, 168 and 184). He claims this chapter “shows that [Humbert] has come to understand his error” in confusing fact with fancy. Alexandrov’s chapter cites this scene as “Humbert . . . abandoning the entire category of ‘nymphet’ ” (Alexandrov 1991, 164). But he sees a double point of view, rather than the three sets of Humbert’s perceptions for which I argue, in the memoir; so I attribute different significances to this revelation. I owe this to John Paul Riquelme. See Chapter One, “Twists of the Teller’s Tale: Finnegans Wake” (Riquelme 1983, 1–47). See Trilling (1958). 110 7 DISCOURSE, IDEOLOGY, AND HEGEMONY The double dramas in and around Lolita1 Elizabeth Patnoe There is general agreement, among those professionals who work with adult survivors, that the effects of abuse might show themselves in the form of low self-esteem, lack of assertiveness, depression, and problems in sexual and maternal relationships. However, when we look at the research done on the socialization of women, and the norms set for female behavior (in Western culture) we find that many of the behaviors and “traits” that would be seen to characterize “neurotic” women, such as those listed above, would also be used to prescribe sex-role-appropriate behavior in women. (Jones 1991, 76) Where [the women’s movement] is strong, incidence figures rival the shocking U.S. statistic that one in three women before the age of eighteen has been sexually abused; where the women’s movement is weak, incidence figures drop, and social concern about it is minimal. (Virginia Goldner, in Jones 1991, viii) Culture She walked up to me, and she asked me to dance. I ask her her name. In a dark-brown voice she said Lola, L-O-L-A, Lola, Lo, Lo, Lo, Lo, Lo–la. As a ten-year-old, I was intrigued by the Kinks’ song about a boy liking a girl and then finding out something unexpected. What exactly was it? I didn’t know for sure, but I liked its sound, its ability to urge movement at the slightest memory of its lyrics. I continued to love the name “Lola,” a 111 ELIZABETH PATNOE word that evoked memories of carefree childhood days – of sneaking squirt bottles on the school bus and dancing in the backyard. But during my first reading of Lolita, the name lost its playful allure, stopped making me want to sing along. Now it urges pause as I try to understand the speaker’s use of “Lola” or “Lolita.” The Kinks’ “Lola,” while about the doubling of cross-dressing, broaches issues of gender, sexuality, and interpretation, issues that also inform any discussion of Lolita, but I am interested in it for its exemplification of the power of intertextuality, of how one text – Lolita – can be even retroactively intertextualized with another – “Lola” – such that my pleasure in “Lola” is diminished, my vision of childhood changed, and my understanding of the diffuse doublings fueled by Vladimir Nabokov’s Lolita clarified. Nabokov’s Lola experiences great pain because of Humbert’s treatment of her, which we see in her crying every night after she thinks Humbert is asleep, in the scratches she leaves on Humbert’s neck while resisting sex with him, and in her escape from him and the territory of his treatment – much of the United States. It is fitting that Lolita retreats to one of the country’s borders, to a remote place where, presumably in part because its isolation precludes sophisticated medical support, she dies in childbirth. But, as if it is not enough that Humbert repeatedly violates Lolita and that she dies in the novel, the world repeatedly reincarnates her – and, in the process, it doubles her by co-opting, fragmenting, and violating her: it kills her again and again. In 1966, The Random House Unabridged Dictionary of the English Language defined “Lolita” as “a girl’s given name, form of Charlotte or Delores. Also Loleta.” By 1992, The American Heritage Dictionary of the English Language offers a very different definition for “Lolita”: “A seductive adolescent girl. [After Lolita, the heroine of Lolita, a novel by Vladimir Nabokov].” In a recent and exceptionally distorted representation of Lolita, the mythicized Lolita is not based on the novel’s character who is abducted and abused, who dies at the end of the book, but a “Lethal Lolita” who attempts to murder her lover’s wife. Amy Fisher has been repeatedly referred to as “Lolita” – in commercials for the three television movies about the shooting,2 in newspapers, in People’s cover story, “Lethal Lolita,” and even on the national evening news (CBS 12–1–92). In Japan, the term “Lolita complex” is widely used to refer to men’s fascination with the sexuality of female youth – and to perpetuate the portrayal of women as ridiculously childlike. Maureen Corrigan of Georgetown University also distorted the Lolita character when, in a National Public Radio editorial, she equated one of Madonna’s characters in the book Sex with Lolita. There, in another kind of doubling, Madonna poses as a fullbreasted little girl in drop-bottom pink baby pajamas, who supposedly wants sex. What Corrigan describes as a Lolita is not the novel’s Lolita, 112 DISCOURSE, IDEOLOGY, AND HEGEMONY the Lolita who tries to call her mother from the inn, who scratches Humbert, who cries every night, and who finally escapes – just as my Lolita is not the same Lolita that Vanity Fair calls “the only convincing love story of our century” (Vintage 1989 cover). In “Time Has Been Kind to the Nymphet: Lolita 30 Years Later,” Erica Jong says, “She has, in fact, defeated time – her enemy” (Jong 1988, 47), but time was never Lolita’s enemy; it was Humbert’s, one he imposed on her. And time’s occupants – not time – continue to reincarnate Lolita only to batter her into their own self-validating construction, to be anything but kind to her. Why didn’t the Lolita myth evolve in a way that more accurately reflects Nabokov’s Lolita? Why isn’t the definition of “Lolita” “a molested adolescent girl” instead of a “seductive” one? The answer seems relatively clear, but its consequences are complex. This misreading is so persistent and pervasive because it is enabled and perpetuated intertextually, extratextually, and intratextually. The text itself promotes misreadings of Lolita because, as Wayne Booth is one of the first to note, Humbert’s skillful rhetoric and Nabokov’s narrative technique make it difficult to locate both Humbert’s unreliability and Nabokov’s moral position (Booth 1983, 389–391). While the text offers evidence to indict Humbert, it is subtle enough that many readers overlook its critique of the misogyny illustrated in and purveyed by the rest of the text. Perhaps Nabokov minimized such signals in order to merge the novel’s form and characterization with what is his attempt to illustrate and thematize what happens when an allegedly charming, clearly powerful character wreaks his egocentricity on a weaker one. Whatever Nabokov’s rationale for providing such subdued messages in support of Lolita, they are often lost in an atmosphere that interprets and presents her oppositionally, and these antagonistic messages are compounded by a host of cross-cultural, diachronic narratives that precede and succeed Lolita, texts that purvey the notion that femaleness, femininity, and female sexuality are desirable, but dangerous – even deadly.3 Thus, instead of embracing the muted, violated Lolita, our misogynistic culture created and reified a violating Lolita. It made her as contrary to birth-giving and nurturing as possible: it made her lethal. Linda Kauffman says, “Lolita is as much the object consumed by Humbert as she is the product of her culture. And if she is ‘hooked,’ he is the one who turns her into a hooker” (Kauffman 1993, 160). Similarly, throughout the years, Lolita has become the product of our culture beyond the book’s pages, where she has been made a murderess by characters far more powerful than Humbert. And these mythical machineries of evil Lolita narratives perpetuate a misogyny that imposes developmentally abnormal sexuality on some females and simultaneously punishes all females for any sexuality. By imposing this sexual responsibility and fault on females, they deem us unnatural, evil for having any sexuality, and, if we are young, doubly deviant, however developmentally appropriate our sexuality is.4 113 ELIZABETH PATNOE Ultimately, all females are caught in a culture that forcefully bifurcates them into characters who are or who are supposed to be both compassionate and lethal, asexual and hypersexual. With so many co-opted Lolita myths impregnated in our culture, readers come to Lolita inundated with a hegemonic reading of evil Lolita and bad female sexuality, a reading that then overdetermines the book, that imposes itself upon its own text. The Lolita Story and its discourse have become an ongoing and revealing cultural narrative, a myth appropriated in ways that validate male sexuality and punish female sexuality, in ways that let some people avoid the consequences of their desires as they impose those desires on others. In this way, another source of the misreadings of Lolita is the reader, who is extratextual because he or she is outside the text of Lolita, who is intertextual because he or she lives between the narratives and images that bolster the misreadings of Lolita, and who becomes intratextual as he or she, submerged in these larger influences of cultures and intertextuality, brings them to Lolita so thoroughly that they become, for that reader, a very real part of the Lolita text. This dual existence of one textual Lolita and another, very different, coopted, mythical Lolita is just one example of the doubling in and around Lolita, of the doubling that results in fragmentations, splits, and violations of what many people experience personally or vicariously, of what many people witness, believe, and know. And the cultural systems complicit in the cleaving and appropriation of Lolita also fuel a machinery of doubling that promotes the doubling of readers, students, molestation survivors, female sexuality, and the roles and perception of women in general. While critics have addressed the character doubling of Humbert and Quilty, and while some of their notions are related to the doublings that I explore, my concern is with a whole system of doubling and with the various pegs within it. It is with the expansive doubling that is associated with both the mythic and the textual Lolitas, with the division and doubling of the public and private selves, the spoken and the silenced, the imagined or perceived or represented and the real – with what is often a destructive, oppressive, institutionally-condoned system of doubling that occurs in Lolita and that informs and is informed by it.5 Given a cultural context that both distorts and feeds upon Lolita, teachers, if they assign Lolita, must contend with the neglected doubling that occurs in these other realms and with how the book reflects on larger cultural pressures and processes. Perhaps one strategy for resisting and correcting these entrenched misreadings of Lolita, women, and of sexual molestation is to confront several of their sources. Intertextual sources that bolster the Lolita myth are perhaps the least threatening places with which to begin this challenge. Perhaps explorations of how our readings are partially constructed before we come to “the” Lolita text itself would ease readers into understanding how inter- and extratextual sources become 114 DISCOURSE, IDEOLOGY, AND HEGEMONY intratextual, how their very personal readings are influenced by sweeping, insidious ideologies. Booth says Lolita misreadings “do not come from any inherent condition of the novel or from any natural incompatibility between author and reader. They come from the reader’s inability to dissociate himself from a vicious center of consciousness presented to him with all of the seductive self-justification of skilful rhetoric” (Booth 1983, 390). But Lolita readers must also understand what is at the center of a cultural consciousness that encourages misreadings of Lolita. Once readers have some sense about how their readings are, at least in part, predetermined, perhaps then they can confront more intimate sources of misreadings, their own interpretive systems and assumptions. And then, perhaps readers will be more receptive to Lolita’s covert, intratextual messages that are frequently overlooked but are essential to our understanding of the way it functions in our culture. It would seem that the most effective resistance – whether it is to the hegemonic readings or to challenging them – would be met and take place in the “self” realm of the extratextual, in the most personal, private, and sometimes painful realms of readings and of texts. But if we can understand the part of the extratextual realm that influences the personal part of the extratextual, then perhaps we will better access and understand the interplay of our culture, ourselves, and the texts that become our texts. To this end, I would like to see those of us who have been excluded from the hegemonic readings of Lolita resuscitate the character, reclaim the book, and insist upon our experiences with and around it so we can at least begin to counter the Lolita myth distortions, to resist some of the cultural appropriations of female sexuality. For me, this means processing several of my experiences with Lolita: as a young listener of “Lola,” a nurse for children and teenagers, a student reader of Lolita, and with the text itself – particularly, here, with an excerpt from the Enchanted Hunters chapter in which the double-voicing is so complete and so manipulative that it results in a double-drama rarely seen in literature, but very much like the double-dramas too often played out in girls’ and women’s lives: the narration of an event that is countlessly described as “love-making” and seduction, but that can only be interpreted as rape.6 People The resounding Lolita myths have influenced many responses to Lolita. Critics focus on the book’s aesthetics and artistry, discuss it as an American travelog, view Humbert with compassion, as truly contrite, a tragic hero. Though diverse, these readings remain hegemonic, and they do not contend with gender issues, do not attempt to understand why and how the same text can be so pleasurable for some and so traumatic for others. While many of us celebrate the personal nature of literature, criticism has 115 ELIZABETH PATNOE historically denied the subjective. For a long time women’s voices in general, but especially women’s voices of anger and pain, have not been sounded or heard. We have the critical history of reader response and personal criticism, but, for the most part, our discipline still disallows even the slightest hints of personal perceptions and reactions in scholarly work: we are expected to intimately engage with some of the most emotive stories ever told, but we are also expected to squelch certain results of that engagement even as we try to articulate some of the implications of that very same engagement. But we have been limited to those discussions and reactions deemed appropriate by the reigning cultural powers. Particularly noticeable in this movement is the critical history of Lolita, in which readers and critics almost always embrace what they consider the book’s pleasures, almost always skirt its pains – Lolita’s pains, as well as the readerly traumas associated with this novel. Perhaps these issues have not been adequately addressed because readers who do not have such disturbing desires cannot imagine, cannot bear or bare the thought of them in themselves or others, and so deny or minimize such imaginings, avoid contending with them. One man I know seemed staunchly located in Humbert’s narrative audience, defending him, insisting he does not rape Lolita, and calling her an “experienced seductress.” I said that, while she had had sex, it was with her peer, which suggests at least the chance for a more developmentally normal, mutuallyempowered experience. He said, “If my daughter ever fooled around at that age” and stopped short. I replied, “If your daughter were Lolita, you’d call it rape.” He shook his head, exhaled audibly through his nose, and said, “Touché. Now I see what you mean.” Many other men praise the book’s artistry, Nabokov’s brilliant language. One associate said he loved the book – his favorite – for its artistry.7 I asked him how he could feel so much pleasure from a book with this content. He said, “It’s just a book.” But this book is not “just a book” for everyone. For many people it represents some aspect of their reality, what has happened to them or their loved ones – or what they fear might happen. But this man seemed so seduced by the book’s form that in every visible way he trivialized Lolita’s experience and dismissed the trauma many readers experience with this text. I witnessed how this book is not “just a book” for some people when, nestled into a booth one afternoon, some women and I began discussing the implications of Lolita. Three of us were especially passionate as we discussed its narrative strategy, its characterization, our responses. Our fourth colleague occasionally nodded her head, but remained quiet. About fifteen minutes into our talk, she abruptly rose to go home. The closest of her friends among us walked her to her car and upon her return told us why our colleague had gone: when she was a child, her father woke her, carried her from her bed to the bathroom, made her bend forward over the 116 DISCOURSE, IDEOLOGY, AND HEGEMONY tub, and raped her. When she cried out, her father stuffed a washcloth in her mouth. With blood dripping down her legs, he forced her to perform fellatio on him. When she refused to swallow his semen, he squeezed her nostrils shut until she did. When he was finished, he picked her up by the elbows, held her face to the mirror, and said, “Do you know why Daddy did this to you? Because you are such a pretty pussy.” Is this shocking to you? Do you feel that in my writing it and your reading it, this person’s trauma has been re-enacted? It has – through her, through and for me, and for you. And I imposed this trauma on you, thrust it into your eyes without your consent. If you feel upset, then perhaps you can imagine how our fourth colleague felt and how others might respond to texts and discussions that catapult them into chasms of deep, secret pains – including discussions less vivid and texts far less shocking than this one.8 While conspicuously few critics have expressed charged sympathy for Lolita’s trauma,9 most neglect to confront the trauma Humbert inflicts on Lolita, and none contend with the trauma the book inflicts on readers. Indeed, if critics discuss trauma at all (excepting those noted in notes 14, 17, and 18), they focus on Humbert’s trauma. Critics range from judging him harshly yet with much compassion,10 to strongly sympathizing with and even identifying with him,11 to “rooting” him on, sympathizing and identifying with him to the point of sharing his pleasures – artistic and sexual.12 Concurrent with this is the critical move that seems to offer frightening pleasure to those who view Lolita with derision.13 While examinations of the book that focus on more typical questions of theme and structure can enhance our understanding about some parts of this complicated text, as countless critics focus on the book’s pleasure and neglect its trauma, they also neglect many of its readers and enable the violator’s pleasure, reinforce it, invite it to continue without confrontation. Thus, in addition to particular critical comments that purvey the Lolita myth, the collectivity of Lolita criticism in some way becomes complicit in the aesthetization of child molestation perpetrated by individual people and by the culture at large.14 And by not contending with readers’ or with Lolita’s trauma in the classroom, the criticism, or the culture, the trauma is at once both trivialized and intensified for individual readers because they suffer it alone, without forum. People who have been molested have lived what Elsa Jones calls a “double reality”: “In my view one of the major negative consequences of being abused as a child lies in the confusion generated for the child between what she knows to be true and what her world acknowledges to be true” (Jones 1991, 37). Similarly, some readers of this text also live a double reality in the classroom, a place where personal, often disturbing texts are routinely, matter-of-factly, and authoritatively explored, even enforced. 117 ELIZABETH PATNOE Pedagogy On the way to class, one of my peers told me that as he read he kept saying to himself, “Yes, yes. . . . But, then I’m a male, so I understand Humbert.”15 The first hour or more of class consisted of discussions much like published ones, about the puns, the time of narration, the time of action, the narrative audience – about everything except what Humbert really does to Lolita. One man read the frotteurism couch scene aloud, without any apparent sense of how the reading may have affected the discussion dynamics. In the second hour, the discussion, quiet and controlled, moved to whether, in the course of his narration, Humbert had come to a true understanding of and repentance for what he had done. Some men said they did not condone Humbert – and then talked at length about how we should have compassion for him, how he really comes to love Lolita, how he rehabilitates and wishes he had left her alone early on. Eventually I asked – with some measure of incredulousness – whether anyone else had had an unmitigated reaction against Humbert. I appeared to be in the minority. Many of the women in the class remained quiet, including a usually expressive one who later told me she had been molested by her father. One woman had a strong reaction against Humbert, voiced it once, then told me later that she felt silenced by the men – and so silenced herself. Another woman, a writer, focussed on Nabokov’s use of language. Another argued that understanding Humbert would help us understand and deal with our own desires.16 After class, some of us talked about feeling judged because others implied that we had insufficient compassion for Humbert, suggested that we violated the text when we could not subjugate our real reader experiences to the “desired” authorial or narrative reader experiences.17 Discussing this text seemed to exacerbate the typical classroom dynamic in which the teacher – however much he or she may try to share authority – remains the authority, such that almost independently of what this teacher did or did not do, in this class, what is often assumed to be or represented as the “male” perspective became the dominant perspective. As a result, those students with painful experiences – students who, in vital ways, might have been most able to understand the implications of this book – felt and were disempowered. Sitting there, in humane academia, reading this prolonged account of how a young girl is sexually enslaved for two years, there seemed no room for these responses, these lives. After class, when one of my male associates told me that I cheated the text, that my reaction was “too moral,” that it silenced him, then I really wanted to yell.18 But I stayed implosively silent, feeling embarrassed for saying anything against Humbert, even as I felt angry – with Humbert and with some of the men in class for being unable to permit, accept, even tolerate our responses, responses that I considered rational and reasonable in content 118 DISCOURSE, IDEOLOGY, AND HEGEMONY and articulation. And yet, if, as Virginia Goldner reports, “one in three women before the age of eighteen has been sexually abused” (Jones 1991, viii), can texts like Lolita be taught without exacerbating the trauma of relatively large numbers of mostly female students? And without dealing with what often becomes another silencing, disempowering presence in a whole host of discourses? This class resounded with student splitting, with students responding to the text one way outside the classroom and another way within it, one way within ourselves and another way without. I am certain that some students split as they felt and denied or hid their trauma. Other discussants might have doubled as they felt and denied their pleasure, as they made public declarations against Humbert’s behavior while growing privately pleased by it. And, while I am working from a generally female perspective in my attempt to contend with larger issues of pedagogically- and textually-induced trauma, I want to know more about how Lolita and other texts produce and exacerbate male trauma. Might some male readers of Lolita feel bullied? Misrepresented? Wronged? Might some be distressed by other men’s arousal? By their own arousal? Might some fear that all women will think that all men want to violate girls? Might they fear for the women and girls about whom they care? Fear that their reactions might betray their peers who argue relentlessly on Humbert’s behalf? And how might men who have been sexually abused feel, men who often have no forum in which to process their experiences, whose trauma is silenced perhaps more than any other? Think of how they must have doubled.19 The classroom is perhaps one of the most public arenas for traumatic readings. Yet, amidst a flurry of attention to various sorts of harassment and violence, pedagogical theory and methods have not yet sufficiently addressed personal trauma transmitted through and perpetuated by perfectly academic discussions and canonized texts. It is not difficult to see why some might want to overlook or repress traumatic reactions. Perhaps silence is a site, source, and sign of strength for some people. And there is the risk of classroom chaos, of cascades of shocking personal revelations, of dangerous pseudo-therapy sessions. But if teachers assign traumatic texts, it seems they are obligated to acknowledge and at least reasonably try to accommodate students’ responses to them – if not entirely, then in part; if not on an individual basis, then within a general and perhaps less threatening discussion of what responses such texts “might” evoke. In the process of trying to contend with trauma, there is always the possibility of exacerbating it, but the risk of exacerbation must be greater if teachers impose and then ignore the trauma, if they banish it to some secret solitude or silence. Silence should be an option in, not a function of, such discussions. We may not love Lolita. Many of the women I have talked with about it have very negative feelings about it, and many cannot re-read, write 119 ELIZABETH PATNOE about, or teach it. But the book remains required reading in some classrooms, and were it never again assigned, we would still have to contend with its resonances and the culture that supports them. I understand why some people prefer to maintain their externally silent reactions to these issues, but I also hope that others see that voicing our responses is essential, that it is time to confront those who cannot see that, beneath Humbert’s dominant sexist imaginings of Lolita, there is a kid molded to fulfill a role in a destructive fantasy, a fantasy that every day becomes, in one way or another, a very real nightmare for countless children. It is time for us to grapple with the couch scenes, to redress ourselves. While contending with Lolita and other Lolita texts, we can advance our understanding of broader issues of classroom and readerly trauma – and of pedagogically-imposed trauma in general – and we can contend with the whole set of Lolita myths and discourses. We can discuss the politics of representation, ingestion, response, and influence, and we can expose the complex relations of power, sex, and gender that are represented in and sometimes perpetuated by these texts. While the general and critical communities have repressed the ideological contestation imbued in this book, have turned it into a site of gross cultural appropriation – and in ways that may not have surprised or been condoned by Nabokov – we need to renew the contestation. As we do this, we will take an important step in refusing a cultural milieu that violates and punishes women, that denies, trivializes, and fragments the female personal – especially trauma – while hegemonically advancing the male personal – especially pleasure. Texts One of the primary debates about Lolita is whether we can believe Humbert’s claims about Lolita. Humbert acknowledges and reveals his unreliability throughout the book, and, having been frank and honest, he expects us to believe him when he claims reliability. But I cannot believe two important claims of which he tries to convince us: that Lolita seduces him the first time they have intercourse, and that he comes to truly love Lolita as a person.20 When Humbert recounts his first non-frotteuristic sex act with Lolita, he insists that Lolita seduces him, but a variety of textual signals suggest that Lolita and Humbert are not seeing eye-to-eye throughout the event. Because I will explicate this passage in detail, let me reproduce it for you here: Frigid gentlewomen of the jury! I had thought that months, perhaps years, would elapse before I dared to reveal myself to Dolores Haze; but by six she was wide awake, and by six fifteen we were technically lovers. I am going to tell you something very strange: it was she who seduced me. 120 DISCOURSE, IDEOLOGY, AND HEGEMONY Upon hearing her first morning yawn, I feigned handsome profiled sleep. I just did not know what to do. Would she be shocked at finding me by her side, and not in some spare bed? Would she collect her clothes and lock herself up in the bathroom? Would she demand to be taken at once to Ramsdale – to her mother’s bedside – back to camp? But my Lo was a sportive lassie. I felt her eyes on me, and when she uttered at last that beloved chortling note of hers, I knew her eyes had been laughing. She rolled over to my side, and her warm brown hair came against my collarbone. I gave a mediocre imitation of waking up. We lay quietly. I gently caressed her hair, and we gently kissed. Her kiss, to my delirious embarrassment, had some rather comical refinements of flutter and probe which made me conclude that she had been coached at an early age by a little Lesbian. No Charlie boy could have taught her that. As if to see whether I had my fill and learned the lesson, she drew away and surveyed me. Her cheekbones were flushed, her full underlip glistened, my dissolution was near. All at once, with a burst of rough glee (the sign of the nymphet!), she put her mouth to my ear – but for quite a while my mind could not separate into words the hot thunder of her whisper, and she laughed, and brushed the hair off her face, and tried again, and gradually the odd sense of living in a brand new, mad new dream world, where everything was permissible, came over me as I realized what she was suggesting. I answered I did not know what game she and Charlie had played. “You mean you have never –?” – her features twisted into a stare of disgusted incredulity. “You have never –” she started again. I took time out by nuzzling her a little. “Lay off, will you,” she said with a twangy whine, hastily removing her brown shoulder from my lips. (It was very curious the way she considered – and kept doing so for a long time – all caresses except kisses on the mouth or the stark act of love either “romantic slosh” or “abnormal.”) “You mean,” she persisted, now kneeling above me, “you never did it when you were a kid?” “Never,” I answered quite truthfully. “Okay,” said Lolita, “here is where we start.” However, I shall not bore my learned readers with a detailed account of Lolita’s presumption. Suffice it to say that not a trace of modesty did I perceive in this beautiful hardly formed young girl whom modern co-education, juvenile mores, the campfire racket and so forth had utterly and hopelessly depraved. She saw the stark act merely as part of a youngster’s furtive world, unknown to adults. What adults did for purposes of procreation was no business of hers. My life was handled by little Lo in an 121 ELIZABETH PATNOE energetic, matter-of-fact manner as if it were an insensate gadget unconnected with me. While eager to impress me with the world of tough kids, she was not quite prepared for certain discrepancies between a kid’s life and mine. Pride alone prevented her from giving up; for, in my strange predicament, I feigned supreme stupidity and had her have her way – at least while I could still bear it. But really these are irrelevant matters; I am not concerned with so-called “sex” at all. Anybody can imagine those elements of animality. A greater endeavor lures me on: to fix once for all the perilous magic of nymphets. (Part I, end of Chapter 29) We can read this passage in at least two very different ways, believing Humbert’s claim that Lolita seduces him and directs him to the act of intercourse, or challenging him by imagining Lolita’s perspective, and especially by considering that Lolita does not direct him to penetrate her. Throughout his report, Humbert wants us to believe that Lolita knows exactly what she does, that she directs him to intercourse, that Lolita is in control: he tells us that he acts stupid; that she is a knowledgeable and experienced teacher who has participated in a furtive world, a perilous and depraved nymphet; that she is the one who makes presumptions with him. But Humbert also participates in the doubling of this text and of child molestation by doubling himself, by being one thing and pretending to be another. From the onset, with his address, “Frigid gentlewomen of the jury!,” he implies that he will employ evidentiary rhetoric directed at women, but, throughout this passage, his language is riddled with indirection and ambiguity, and he never absolutely defines the “stark act” so central to the scene.21 Throughout the narration as well as the time of action, Humbert doubles: he “feigns” sleep and “imitates” waking; he pretends to be a powerless student while he is the powerful teacher; he says that his “dissolution” was near, that “for a while [his] mind could not separate into words the hot thunder of her whisper”; he has the sense that he is in a “mad new dream world, where everything was permissible”; he tells us that he “realized what she was suggesting,” but he tells Lolita that he “did not know what game she and Charlie had played”; he feigns “supreme stupidity” and ignores Lolita’s difficulties during the act; he says he is not concerned with “sex” at all, but we know that compels him. Clearly, Humbert, while wanting us to believe he is disempowered, is empowered, and he manipulates the voice and the dialogue of this passage in his effort to convince us that he is seduced, while there is covert evidence that this is not the case, that Lolita does not have intercourse in mind, but an adolescent petting game. First, Humbert says Lolita seduces him, but he begins the caressing, and he does not indicate who initiates the first kiss. Shortly thereafter he says, 122 DISCOURSE, IDEOLOGY, AND HEGEMONY “As if to see whether I had my fill and learned the lesson, she drew away and surveyed me.” If we can rely on Humbert’s interpretation of Lolita’s look, and if she is indeed drawing away to see if he has learned his lesson, then it seems logical to infer that Lolita thinks she has finished giving the lesson, that she has given Humbert what she thinks should be his fill after the first kiss. Furthermore, if Lolita intends to teach Humbert a lesson about kissing, then presumably she would initiate the lesson. If she does initiate it – and if Humbert wants us to believe she seduces him – then why doesn’t Humbert tell us she initiates it? By not identifying who kisses whom first, Humbert enables the possibility that he kisses her. We also cannot be sure of Humbert’s interpretation of Lolita’s look and of why she moves away from him. Could she draw – or pull – away from Humbert in surprise? Could her flush be of fear? Throughout this passage, Humbert says he realizes what Lolita suggests when she “put her mouth to” his ear, saying that she seduces him and implying that she initiates foreplay that she wants to culminate in intercourse. Again, if Humbert’s goal is to convince the jury that Lolita seduces him to intercourse and if her whisper resounds like thunder, why doesn’t he conclusively tell the jury what Lolita says instead of what she suggests? When Humbert says he realizes what Lolita’s suggesting, his sly wording whispers two possible interpretations. First, Humbert could mean that Lolita directly invites him to participate in something – that she says, for instance, “Let’s make out” or “Should we make out?” But Humbert’s wording could also indicate that he – and not Lolita – makes the presumptions, that he infers what Lolita might be implying, not what she is actually stating. Even though it would be easier for Humbert if we believed his claim that Lolita initiates and orchestrates the activities that lead to intercourse, the collective effect of Lolita’s perspective and Humbert’s commentary suggests that her lesson, her goal, her game, her “stark act” is not to have intercourse, but only to kiss and perhaps fondle. Humbert, of course, admits to feigning ignorance throughout this scene, and even how he speaks this to her suggests kissing and petting games, not intercourse: “I answered I did not know what game she and Charlie had played.” For me, game evokes various pre-teen kissing games – or, at the very most, some kind of fondling activity. Again, Humbert strategically does not specify what Lolita says. Instead, he reports her as saying “you never did it when you were a kid?” (emphasis added), which reinforces the implication that Lolita is referring to a common kids’ game. Perhaps Humbert really never played the game as a kid, but surely Lolita does not think that sexual intercourse is common among youngsters – while it would be quite likely that she would believe kissing or petting games are. One key to identifying the indeterminacy in this passage is the phrase “stark act,” which Humbert uses twice. First, he says that Lolita thinks 123 ELIZABETH PATNOE that “all caresses except kisses on the mouth or the stark act of love [are] either ‘romantic slosh’ or ‘abnormal.’ ” Later he says, “she saw the stark act merely as part of a youngster’s furtive world, unknown to adults. What adults did for purposes of procreation was no business of hers.” While, after the first reference, stark act may possibly – though not necessarily – mean intercourse, the second reference undermines this possibility by suggesting even further that Lolita plans to participate in kids’ petting games. This would further explain why, after suggesting them, she is surprised to learn that he had not participated in them when he was young. Humbert facilitates this alternative reading by emphasizing the kids’ context of the game when he lists the influences upon this “young girl” of “modern coeducation, juvenile mores, [and] the campfire racket.” While Humbert wants us to believe the “depraved” Lolita wants to have intercourse with him, he also exaggerates typical “juvenile mores” and campfire experiences. Finally, whether Lolita has had intercourse with Charlie or not, Lolita gives Humbert no clear indication that she wants to have it with him. Somewhere even Humbert recognizes this: once again, he says, “She saw the stark act merely as part of a youngster’s furtive world, unknown to adults. What adults did for purposes of procreation was no business of hers.”22 One of my associates interprets these lines to mean that Lolita believes intercourse is something about which youngsters know and adults do not care. If so, then why would Lolita want to seduce Humbert, an adult, to intercourse? My colleague claims it is to impress Humbert with her knowledge and experience. But, if she believes “it” is a common children’s experience, then why would she think her experience would impress someone who also had been a kid and who, she presumes, had had similar childhood experiences? Finally, the double-voicing of the line “What adults did for purposes of procreation was no business of hers” is remarkably telling of Humbert’s manipulative voice. Whether or not one accepts my associate’s reading that Lolita believes intercourse is common in childhood and that she does not care about how adults procreate, Humbert’s own words subvert his primary interpretation, and their double-voicing resonates loudly: this is what adults say about kids, not what kids say about adults. For me, these lines and the following ones strongly suggest that Humbert knows Lolita cannot yet conceive, cannot comfortably accommodate a man – and that she is not interested in intercourse with him. The following passage is charged with possibilities: My life was handled by little Lo in an energetic, matter-of-fact manner as if it were an insensate gadget unconnected with me. While eager to impress me with the world of tough kids, she was not quite prepared for certain discrepancies between a kid’s life 124 DISCOURSE, IDEOLOGY, AND HEGEMONY and mine. Pride alone prevented her from giving up; for, in my strange predicament, I feigned supreme stupidity and had her have her way – at least while I could still bear it. These lines describe Humbert’s ultimate power twist – the twist of what he actually does and of how he narrates his actions in his attempt to convince himself and us that Lolita is in control, that he succumbs to her, and that what he does here is on some level acceptable. When Humbert says he feigns “supreme stupidity” and has “her have her way” while he can “still bear it,” he might mean that he lets her fondle him until he ejaculates (and they never have intercourse) or, what I think he wants us to believe, that she wants to have intercourse, and that, even though Lolita is not prepared for intercourse with an adult, though this causes her pain, her pride compels her to continue having intercourse until Humbert ejaculates. I propose, however, that Lolita’s “stark act” could well be the more sophisticated component of her two approved activities – a petting game that she thinks adults do not play. If we read these same lines within another possible context of Lolita as a pre-teen – one covertly corroborated by the text – it is quite possible that they indicate that Lolita wants to impress him with this unnamed activity from “the world of tough kids” – note that “kids” is used thrice – and that she is absolutely not prepared for a different kind of discrepancy between children and adults: Lolita’s perspective of the “stark act” versus Humbert’s, petting games versus child–adult intercourse. These same lines also allow for another very different but related reading of Lolita’s perspective and experience, and, considered together, the alternative readings enhance each other. Humbert uses life twice in the end of the excerpt. Within the dominant, more figurative reading, life is a metaphor for penis. As such, the line, “My life was handled by little Lo in an energetic, matter-of-fact manner as if it were an insensate gadget unconnected with me” suggests a description of Lolita’s genital fondling of Humbert, and “she was not quite prepared for certain discrepancies between a kid’s life and mine” may refer to size differences in children and adults. However, what if, in a kind of reversal of Humbert’s narrative trend to be strategically symbolic and indirect, we pull back his covers and consider life more literally. Within this reading, these lines suggest that, when they pet, Lolita obliviously alters the direction of Humbert’s future life, that she makes out with him as if their behavior is in no way going to affect Humbert’s future. Of course, while Humbert’s syntax places the blame for these changes on Lolita, it is his molestation of her that changes both of their futures. Furthermore, the second use of life, considering its literal definition based in length of time (not anatomy), reiterates that a youngster may be satisfied with petting games while an adult may not be. Merging 125 ELIZABETH PATNOE both meanings of life and both meanings of stark act, and considering that harsh, blunt, and grim are synonyms for stark (Webster and American Heritage), this passage underscores that Lolita is at once not prepared for Humbert’s size or his ejaculatory stamina during fondling, that her pride compels her to continue petting, that Humbert goes along with her game, feigning stupidity about her limitations and her intentions, and, when her way – the way of a kid’s life, either the kissing or the fondling – is no longer enough for him, in an abuse of both her body and her “pride,” he, without her consent, directs the stark activity his way: he penetrates her, and, as he rapes her, feigns ignorance about her pain while he thrusts to ejaculation. I focus my interpretation of this passage on the passage itself, but the novel also supports my reading by predicting and even inviting it several pages before Humbert narrates the first time he and Lolita have intercourse. When Humbert picks Lolita up from camp to bring her, she believes, to her hospitalized mother, he reports that Lolita kisses him in the car. He says: I knew, of course, it was but an innocent game on her part, a bit of backfisch foolery in imitation of some simulacrum of fake romance, and since (as the psychotherapist, as well as the rapist, will tell you) the limits and rules of such girlish games are fluid, or at least too childishly subtle for the senior partner to grasp – I was dreadfully afraid I might go too far and cause her to start back in revulsion and terror. (p. 105) Then, as Humbert and Lolita check into their room, Humbert reports a self-indicting dialogue: “She said: ‘Look, let’s cut out the kissing game and get something to eat.’ . . . ‘What’s the matter with misses?’ I muttered (word-control gone) into her hair. ‘If you must know,’ she said, ‘you do it the wrong way.’ ‘Show, wight ray.’ ‘All in good time,’ responded the spoonerette” (p. 111). These lines precede Humbert’s narration of the sex scene, but, clearly, they are meant to inform our interpretation of it. This novel, this experience, this social issue, is fraught with doubling, and this passage, with its internal doublings that are both contradictory and mutually enhancing, doubles into itself in a way that enables two different readings: the critically dominant, unchallenged one that assumes Lolita seduces Humbert to intercourse, and an overlooked reading that Lolita proposes kissing and petting games with Humbert – but not intercourse. This relative indeterminacy frustrates some readers of the novel (though most seem to unproblematically accept the hegemonic reading), and certainly my attempt to account for the latter reading will frustrate some of my readers. Of course, Humbert’s passage is inherently and 126 DISCOURSE, IDEOLOGY, AND HEGEMONY intentionally indeterminate; it is conveniently doubled. He claims to leave out the details because they are “irrelevant matters,” but he erases them because they are, indeed, quite relevant. Since he wants to acquit himself of the accusation of rape, wants to convince us that in this scene Lolita seduces him to intercourse, he must narrate in gaps, must not tell us who initiates certain acts, must use elusive language, must be self-protectively discreet. In an earlier version of this chapter, I noted that “this formalist reading may seem to redeem the text and Nabokov because it identifies textual challenges to the violent seduction fantasy,” but that I was “not ready to exculpate Nabokov, the text, or the likes of Lionel Trilling.” I wrote, “Perhaps Nabokov wanted me to see the ‘real’ kid in this excerpt – or perhaps not. Certainly, where I see the raped child, others imagine a seductive little girl.” I still cannot know for certain how Nabokov intended this passage to be read, but now I feel more sure that he would support my reading. After all, his text does support it. Nevertheless, in this passage Nabokov, with more force than anywhere else in the novel, narratively plies two perspectives. Through this interweaving, this doubling, he problematizes Humbert’s claims and Lolita’s liability – and he does this by testing the limits of what we now familiarly know as M. M. Bakhtin’s notion of heteroglossia. Bakhtin says heteroglossia is: another’s speech in another’s language, serving to express authorial intentions but in a refracted way. Such speech constitutes a special type of double-voiced discourse. It serves two speakers at the same time and expresses simultaneously two different intentions: the direct intention of the character who is speaking, and the refracted intentions of the author. In such discourse there are two voices, two meanings and two expressions. And all the while these two voices are dialogically interrelated, they – as it were – know about each other. (1981, 324) This passage, with Humbert so insistent upon his own view while revealing such contrary yet valid, viable variations of Lolita’s perspective, exemplifies an extreme kind of personal double voicing. In the course of this narration, the doubled form both produces and enacts a doubled content – a doubled action – and the narrative consequences are that this interconnected yet gaping double voicing reflects and produces a colliding double drama: two people, with two related yet relatively oppositional intentions, interact – and for the empowered one the outcome is seduction, while for Lolita, the very same interaction, the very same words, result in rape. Some readers insist that, from the onset of this scene, Lolita wants to teach Humbert how to have intercourse, that she initiates and maneuvers 127 ELIZABETH PATNOE penetration. While I disagree with this interpretation, even it describes an essential double drama: if Lolita consents to or even appears to direct her painful penetration by Humbert, she does so with Humbert’s powerful director’s hand; as he leads her to believe she is in control, he controls her – he gets power by appearing to give up power, exerts his will by appearing to relinquish his will. Finally, even within this reading of Lolita as pseudo-director, he directs her to consent to activities which he maneuvers and for which he knows she is not prepared. And this “consent” is problematic, first, because it is not clear that Lolita does consent to intercourse, and because, within the power-differential of this situation, it becomes impossible for Lolita – or for any twelve-year-old – to truly consent to what is about to happen, to consent as an informed, independent, empowered person who has a variety of implementable options from which to choose. We know the implications of Humbert’s gaming with Lolita, of the power-differential which is doubly dramatized, and we know that Humbert’s manipulations result in an extended bondage and violation of Lolita during which his will – his life – continues to penetrate and prevail. Thus, regardless of the indeterminacies of this passage, all readings describe Humbert’s coercion of Lolita, the exertion of an adult’s sexual desires upon a child – rape. This ambiguity of perception and interpretation – this double drama which concurrently reveals and conceals various truths – is both continued and undermined when Humbert reports that Lolita says with a smile, “You revolting creature. I was a daisy-fresh girl, and look what you’ve done to me. I ought to call the police and tell them you raped me. Oh you, dirty, dirty old man” (p. 130). Are we to entirely believe the man who believes that Lolita’s second expression of pain is “reproduced” for his benefit? Does she really smile when she calls Humbert a brute? Humbert’s manipulation of rape into consensual sex involves an honest portrayal of some of his liabilities, which makes it easier for him to misrepresent other liabilities, easier for him to double. Yet Nabokov reveals Humbert’s role as screenwriter, director, and interpreter – as perverter – of the drama when Humbert says a few chapters after narrating the rape scene, “The rapist was Charlie Holmes; I am the therapist – a matter of nice spacing in the way of distinction” (p. 137; emphasis added). Indeed, although Humbert makes a distinction here between himself as “the therapist” and not the rapist, earlier he blurs the distinction and – in another example of Nabokov’s linguistic craft – he covertly associates himself with a rapist. When discussing Lolita’s “innocent game” of kissing him, Humbert says, “as the psychotherapist, as well as the rapist, will tell you” (p. 105), and Humbert goes on to tell you. He also refers to “the child therapist” in himself (p. 115). And later, of course, Lolita speaks with Humbert about “the hotel where you raped me” (p. 184) and says “I ought to call the police and tell them you raped me” (p. 130). 128 DISCOURSE, IDEOLOGY, AND HEGEMONY Nabokov continues to reveal Humbert’s doubling – and unreliability – through language that exposes his ongoing pedophilia and debunks his insistence that he comes to love Lolita for her own sake.23 He says of his meeting the pregnant, married Dolly: I had no intention of torturing my darling. . . . there she was with her ruined looks and her adult . . . hands . . . (my Lolita!), hopelessly worn . . . and . . . I knew . . . that I loved her more than anything I had ever seen or imagined on earth. . . . She was only the . . . dead leaf echo of the nymphet I had rolled myself upon with such cries in the past . . . but thank God it was not that echo alone that I worshipped. . . . I will shout my poor truth. I insist the world know how much I loved my Lolita, this Lolita, pale and polluted . . . still mine. . . . No matter, even if . . . her lovely young velvety delicate delta be tainted and torn – even then I would go mad with tenderness at the mere sight of your dear wan face, at the mere sound of your raucous young voice, my Lolita. (p. 253; emphasis added) Even as Humbert proclaims his love for this Lolita, as he describes a young woman ravished by the experiences he has imposed on her, key words throughout his narrative reveal his continued obsession with possessing a young Lolita, with possessing her for the sexual attraction he found in her youth – and that he still finds in other youth. He continues to think about other girls sexually both in the time of narration and the time of action at the end of the novel: in the time of action, he looks lewdly at young girls playing near Lolita’s house; at the beginning of the time of narration, he thinks about the girls in the catalog in prison; and at the end of his narration, he writes this passage, saturated with quiet clues about what still obsesses him, with clues that make clear that he does not love Lolita spiritually, nor as an individual, that his feelings for her are pathologic and self-serving, and that he remains fixated on what he cannot have – a fantasy world and object that he unsuccessfully tries to disguise beneath the discourse of age and wear. Humbert’s objectification of and disregard for Lolita is reflected even in how he addresses and refers to her: throughout most of the time of action and the time of narration, Humbert calls her Lolita, while everyone else calls her by the name she prefers, Dolly. When he sees the pregnant Dolly, he calls her by her preferred name until he recognizes in her the “echo of the nymphet,” until he envisions the young, “velvety delta” of his Lolita. Finally, just before the book ends, he refers to Dolly as, “my little one. Lolita girl” (p. 259; emphasis added), and his last words are “my Lolita” (p. 281). And yet, even with these clues, in the same way that Dolly’s will, character, and voice are supplanted by Humbert’s throughout the novel, 129 ELIZABETH PATNOE her life, fate, and image continue to be supplanted, distorted, and used by a world that embraces and punishes its own version of Humbert’s imaginary Lolita. “Well, you drink champagne and it tastes just like cherry cola, C-O-L-A, cola.” Suddenly, this “Lola” line intertextually and ironically reflects the duality of Lolita – the doubled discrepancies between and the manipulated mergings of an adult’s world with a child’s. It reflects how, for some readers, Lolita is traumatic and depressing – like the alcohol in champagne – yet, for many others, it is pleasurable and stimulating – like the caffeine in cola. Whether this book remains part of the canon or not, its repercussions will reverberate for a long time. While it might be simpler to slap the book shut, this will not silence its echoes. Instead of retreating from its trauma, I believe we – students and teachers, women and men – should confront its messages and challenges, should address its personal and cultural implications. While recognizing that there may be gender-specific reactions to the Lolita myths and the book, we must not assume them. We need to consider whether these passages and others in Lolita are heteroglossia at its best or its worst, to bring our own backgrounded voices to the fore, to reclaim ourselves – our voices, our interpretations, our stories. As we do this, we can confront the myths that aestheticize and romanticize molestation, that pre-sexualize kids, that make pedophilia pretty. And we can explore why, with the devastations of forced and coerced sexual behavior so evident, any person succumbs to or perpetrates it. Virginia Goldner says adequate treatment of sexual abuse “must do justice to the double injury: the injury of a particular person by a particular person or people, and the social injustice of the victim’s exploitation because of the impersonal fact of her age or sex” (Jones 1991, ix; emphasis added). As we understand the double injuries, as we disclose and undo the doublings in and around this book – the doubling of the Lolita myth, of female sexuality, of responses to the text, of students, of survivors, and of the text itself – and as we share our differences with this text and others, perhaps we will better understand the nature of reading, of sharing readings, of textual traumas, of others and of ourselves. Postscript Tony Moore and I share some minor opinions and two major ones about Lolita: that it provides clues that Lolita and Humbert are not everything that Humbert reports them to be, and that it asks for “sympathy and endorsement” rather than “condescension and disparagement” for Lolita. However, while I feel that these clues and others are often overlooked by individual readers and that they have been ignored or misappropriated by 130 DISCOURSE, IDEOLOGY, AND HEGEMONY a larger culture that has, like Humbert, co-opted Lolita on behalf of some of its own powerful sex compulsions, Moore concludes that they are clear enough to provoke a sufficiently compassionate engagement with Lolita and a sufficiently critical one with Humbert. Then Moore neglects some of these clues. As a result, although he suggests that he will present a revolutionary reading of Lolita and an advocatory, feminist one of Lolita, he offers a somewhat traditional reading, especially in relation to the main characters and to “Humbert’s” narrative technique. Moore’s argument and conclusions are informed by his engagement with Humbert, especially his seemingly interrelated belief in and compassion for him. Moore claims that Humbert “has had a hard time from critics since he first appeared” and is “overdue rehabilitation.” He frequently defers to an assumption about Humbert’s reliability regarding Lolita’s dialogue, appearance, and beliefs. For example, he cites some of Humbert’s disturbing images of Lolita – such as his description of her internal anatomy – without problematizing them. He also argues that Lolita “fucks with” Humbert and that she experiences a “good-hearted natural response from [her] position of equality” in the Enchanted Hunters Motel. Although Moore qualifies his support for Humbert, he also belies the degree to which he supports or is convinced by Humbert in other, less obvious, ways. For instance, Moore’s perspective on Humbert seems both implied in and compelled by Moore’s merging his own voice with Humbert’s – which Moore does, for example, in his last sentence, when he cites one of Humbert’s visions and reiterates it as his own: “This book is about Lolita.” Our differences are also evident in our characterizations of Lolita. For instance, Moore seems to accept Humbert’s narration of Lolita’s sex life without much question, whereas I argue that Humbert’s characterization of Lolita is an example of his self-serving double voicing and dramas that are more extensive than I have convinced Tony they are. Thus, although Moore deviates from much of the critical history of Lolita by criticizing some of the violence that Humbert does to Lolita – even calling it “rape” – and although Moore explicitly advocates Lolita, he finally characterizes her as far more empowered and self-constructed than I am convinced she is. Although Moore’s title, “Seeing Through Humbert” suggests that he will guide readers to see between – or to better understand – Humbert’s rhetorical sheets of paper and cloth, Moore reads this text a little too much through – or under the influence of – Humbert’s vision for some of his arguments to be convincing to me. I also find it interesting to see how differently Moore and I use and respond to anecdote in our chapters. I included the trauma anecdote not because I wanted it to be dismissed as a sensationalizing ploy, but so that it might induce a long-overdue consideration of the real trauma this novel has the potential to exacerbate and inflict, so that it might bring to the fore 131 ELIZABETH PATNOE just how difficult this text can be – and how unpredictably difficult. To assign this text is not the same thing as to assign a text about adultery to a class that may include adulterers or a text about drug abuse to a class that may include drug abusers. For me, there is something especially violent and haunting about child molestation – no matter how aestheticized it might be in a canonized novel. This seems so self-evident that it may preclude mention – even as it has also been avoided in critical discussions. My provocation of the issue of readerly trauma associated with Lolita has produced some unsurprising objections. But if it is inappropriate to explore the question of readerly trauma in this way and in these contexts, then how and where should we explore it? – a question I hope will prompt further explorations of the issue. But this is only one of my chapter’s efforts. Generally, my hope is to expand the readings of Lolita and to consider how the Lolita texts (as character, novel, and films) have been mythically appropriated by much of the critical commentary about the book and by the culture at large. More specifically, I try to explore the narrative’s double-voiced discourse and its resulting double drama in the story’s action. Indeed, although Tony’s essay and mine betray essential differences, our goals are not entirely incongruous. I see Lolita as a double-voiced text that supports parts of Moore’s argument – but that supports other arguments more comprehensively. Although Moore engagingly presents some convincing and progressive commentary, I still believe Lolita is not “about Lolita,” but about Humbert’s Lolita – and I still believe that the cultural and critical cooption of Lolita and Lolita warrants attention. Although Moore and I say some very different things, I think we would agree that the most comprehensive sense of any text requires a passionate engagement with the multivocality both in and around it – beginning with Lolita. Notes 1 For our fourth colleague. And with gratitude to James Phelan, Nils Samuels, and Marlene Longenecker for our provocative discussions about Lolita and for their keen responses to this chapter. An earlier version appeared in College Literature 22.2 (June 1995), and I would like to express my thanks to the editors for permission to reprint it here, with some additional material and minor changes in format. 2 One, “Casualties of Love: The ‘Long Island Lolita’ Story,” “earned a 22 percent audience share and $3.64 million in revenues” (People 8–8–94). 3 Appel (1991, 332) reports that Nabokov was unfamiliar with the movie The Blue Angel in which Lola-Lola, a cabaret dancer, ruins the life of a professor who falls in love with her, but it is easy to speculate about the possibility of intertextuality between this 1930 film, its 1959 remake, and the 1955 publication of Lolita. Lolita readers and the Lolita myth also may have been influenced by the movie version of Lolita, which impacted notions of what is phenotypically beautiful in North American women and models. However, 132 DISCOURSE, IDEOLOGY, AND HEGEMONY 4 5 6 7 8 while Nabokov wrote the screenplay for the movie, it is significantly different from the novel. This punishment of female sexuality is all the more ironic since the alleged sexuality of “nymphets” is what makes them, by patriarchy’s own definition, desirable. And the doubling continues because Lolita’s alleged nymphet quality is supposed to be essential – thus, natural (and so why not common?); but it is also supposed to be abnormal and rare – thus, unnatural. For a discussion of the Humbert/Quilty and the good/evil double, see Appel (1967, 114, 131, 134) and Frosch (1982, 135–136). See also Maddox (1983, 80), Alexandrov (1991, 161), and Tamir-Ghez (1979, 80). Critics who discuss the doubling of the readers’ desire or perspective with Quilty include Appel (1967, 123), Packman (1982, 47), and Rampton (1984, 107). Haegert notes critics who claim that Nabokov was in part attempting to exorcise an unwanted “double” (1985, 779), among them Fowler and Pifer. They are joined by Centerwall, who argues that Nabokov was a “closet pedophile” (1990, 468). Kauffman (1993) states “it is doubtful” that Lolita seduces Humbert, and Levine rejects the “misguided” arguments which “confuse virginity with innocence” (1979, 475), but critics usually claim that Lolita is a seductress and often, in the process, confound the issue of virginity with the question of rape. Some explicitly but cursorily defend her and then sympathetically incorporate Humbert’s language into their own. See also Trilling, who says, “Perhaps [Humbert’s] depravity is the easier to accept when we learn that he deals with a Lolita who is not innocent, and who seems to have very few emotions to be violated” (1958, 14); Field, who says, “Humbert is himself ‘seduced’ by the unvirginal little nymphet” (1967, 330); Frosch, who says, “Then, too, Lolita is not ‘the fragile child of a feminine novel’ but a child vamp, who . . . is not a virgin” (1982, 132); Appel, who refers to the sex acts between Lolita and Humbert as “conjugal visits” and “seduction” (1967, 121); and Packman, who says that by the end of Part 1 “the initial striptease of the nymphet has been completed” (1982, 59). Others believe Lolita seduces Humbert but emphasize Humbert’s responsibility, including Phelan (1989, 164). Typically, those who claim that Humbert rapes Lolita go on to subvert the claim by confounding love and rape. Gullette says that “each act” of Humbert’s intercourse with Lolita is “a form of rape” (1984, 223), but describes Humbert as “loving children” (p. 221). Maddox confounds love with hate and moral perfection with imperfection when she says, “Lolita is a novel about love and death in two of their most pathological forms: child rape and murder,” which, when we “encounter them in a text,” “can be disturbing but convincing metaphors for a desire for moral and aesthetic perfection” (1983, 67). Tamir-Ghez refers to Humbert’s “design to rape” Lolita, but says he does not rape her because “she complies,” and then refers to “the first time he makes love to Lolita” (1979, 72 n.7, 80). Of course, Nabokov wants this admiration, and he uses his artistic skill to enact another kind of doubling: to represent a playful tragedy, to carefully construct and then deny the same mimetic reality, to make the story artificial and real, to foreground the synthetic aspects of the work so much that, even as he asks us to participate mimetically, he undermines our mimetic engagement – such that those who largely engage mimetically with Lolita are criticized for not appreciating its art. See Phelan 1989 for definitions and applications of the synthetic, mimetic, and thematic components of narrative. While Nabokov avoids sustained, graphic descriptions of Lolita’s violations, 133 ELIZABETH PATNOE 9 10 11 12 13 his words throw some readers into ripping, detailed memories of their own molestations. Most notably, see Kauffman (1993). Also see McNeely (1989), Levine (1979), and Giblett (1989). See also notes 6, 14, 17, and 18. Some of the critics who discuss readers’ sympathy for Humbert include: Brand, who says “our access to Humbert’s extraordinary consciousness makes us more sympathetic to him than we would be to anyone else who does what he does. Still . . . Nabokov provides us with the moral terms with which we can convict Humbert” (1987, 19); Rampton, who says, “it is precisely the Humbert ‘talk,’ the marvellously intelligent discourse that devastatingly indicts not just himself but a whole society, that makes him so attractive and keeps us sympathetic and involved” (1984, 110); Tamir-Ghez, who says “even such paragraphs that point quite strongly at his guilt still make the reader sympathize, in the first place, with him” (1979, 70; also 66, 76, 81); Toker, who says that “Humbert is a callous predator” who eludes readers during “stretches” of the novel (1989, 203); and Phelan, who calls Humbert “undeniably perverse” and says, “We react to Humbert’s doom not with pleasure but with sympathetic pity” (1981, 162). Many critics seem confused about how to judge Humbert, often betraying extended sympathies for him, yet curtly noting that his behavior is not to be condoned – as we will see in other quotes from some of these same authors. See Appel (1967), who emphasizes Humbert’s victimization, entrapment, pain, despair, and horror; Bullock (1984), who says Lolita “abandons” “Hum for other men”; Gullette (1984), who says Humbert’s crime is aging “and wanting nevertheless to have a sexual life” (p. 221); Jong (1988), who says the villain in Lolita is time and that “Humbert is . . . every man who is driven by desire” (pp. 46–47); Tamir-Ghez (1979), who calls Humbert a “man with whom the average reader can easily identify” who “wins us over” (pp. 71, 82); and Green (1966), who claims that “The sexually perverse enterprises . . . are made funny, beautiful, pathetic, romantic, tragic; in five or six different ways we are made to sympathize with [Humbert] in them. Above all, they are made impressive” (p. 365). Most notorious is Trilling’s comment that “we have come virtually to condone the violation it presents. . . . We have been seduced into conniving in the violation, because we have permitted our fantasies to accept what we know to be rather revolting” (1958, 14). Others include: Appel, who says, “we almost find ourselves wishing Humbert well during his agonizing first night with Lolita at The Enchanted Hunters” (1967, 126); Bader, who says Humbert’s “agonizing love for a slangy twelve-year-old is a delectable taboo” (1972, 63); Butler, who claims that during the couch scene “we may even fear for him the possibility of detection. Then, at the moment of orgasm, we experience a corresponding relief that the scene has passed without incident. And, finally, we may even let ourselves be swayed by Humbert’s retrospective view of the scene as an artistic triumph” (1986, 433); Tamir-Ghez, who notes that “What enraged or at least disquieted most readers and critics was the fact that they found themselves unwittingly accepting, even sharing, the feelings of Humbert Humbert. . . . [T]hey caught themselves identifying with him” (1979, 65); and Toker, who says we identify and sympathize with Humbert, who pursues “a pleasure that few readers wish to give up, despite all the scornful treatment that such a pleasure may receive in various aesthetic theories” (1989, 202–203). See Trilling, who “was plainly not able to muster up the note of moral outrage” and says “it is likely that any reader of Lolita will discover that he comes to see the situation as less and less abstract and . . . horrible, and more 134 DISCOURSE, IDEOLOGY, AND HEGEMONY 14 15 16 17 18 and more as human and ‘understandable’ ” (1958, 14); Parker: “She is a dreadful little creature, selfish, hard, vulgar, and foul-tempered. . . . Lolita leaves him . . . for a creature even worse than she is” (1993, 9–10); Appel: Lolita “affords Nabokov an ideal opportunity to comment on the Teen and Sub-Teen Tyranny. It is poetic justice that Lolita should seduce Humbert. . . . Lolita is a Baby Snooks who looms threateningly high above us all” (1967, 121); Bader, who says Lolita “responds shrilly to Humbert’s love-making” and faults Lolita for being conventional (1972, 69); Brand: Lolita is a “little girl as vulgar, energetic, flirtatious, seemingly innocent and yet manipulative as the American commercial environment itself” (1987, 19); Jong: Lolita is “an impossible object: a banal little girl” (1988, 46); Fowler: Lolita is “quite at home as a semiliterate Mrs. Richard Schiller living in a shack and the love of her life was the disgusting Quilty, not Humbert” (1974, 174); and Gullette: “Both the cult of childhood and the discourse that has been labelled ‘Freudianism’ have exacerbated, if they have not created, the guilt an adult feels in longing sexually for a child. . . . And feminism has heightened the sense of potential exploitation in this longing. . . . The outcome, at any rate, is that in the Western world sex is patently another game one cannot play with children” (1984, 218). Kauffman is one of the only critics I have found to truly contest what I am calling this aestheticizing of molestation: “Aesthetic bliss is not a criterion that compensates for those crimes; instead it is a dead end, meager consolation for the murder of Lolita’s childhood” (1993, 163). While there seem to be some gender-specific reactions to Lolita, both in students and in published critics, there are also clear and important exceptions to them – as evidenced in my notes. This response seems a dramatic manifestation of what Fetterley calls “immasculation,” when “the female reader is co-opted into participation in an experience from which she is explicitly excluded; she is asked to identify with a selfhood that defines itself in opposition to her; she is required to identify against herself” (1978, xii). This reader’s response surpasses immasculation because it not only requires the reader to identify against herself as she accepts a male position, but she, in taking this stance, also positions herself in stark contrast and opposition to another, particularly vulnerable, female. Kauffman, citing Fetterley, notes that Lolita gives “feminist” (though, it seems “female” is more appropriate here) readers “the choice of either participating in their own ‘immasculation’ by endorsing aesthetic bliss, or of demonstrating their humorlessness and frigidity” and that “physical as well as aesthetic jouissance for Humbert requires anaesthesia or annihilation for Lolita” (1993, 155). While immasculation has been the norm in Lolita criticism, Kauffman, McNeely, and Giblett have begun to challenge it. For an articulation of these terms, see Rabinowitz (1987). One would think that, since Lolita’s pain is so acutely, though rarely, clarified, that critics would have better attended to that very large group of readers who identify with the experience of pain and trauma, not of pleasure. Most critics – male and female – focus on the pleasurable experience of reading, especially (both overtly and covertly) from a particularly male perspective, including: Packman, Toker, Field, Appel (1967), Butler, Jong, O’Connor, and Fowler. For those who problematize the reading experience, see Rampton and Tamir-Ghez. And, for those who directly confront the “male” reading experience, see Kauffman, McNeely, Levine, and Giblett. See Booth (1983) for one of the earliest and most notable discussions about the book’s morality. For discussions focussed on Lolita’s perspective, see McNeely 135 ELIZABETH PATNOE 19 20 21 22 23 (1989), Levine (1979), and Kauffman (1993), who says, “Lolita is not about love but about incest, which is a betrayal of trust, a violation of love. How have critics managed so consistently to confuse love with incest in the novel? My aim here is to show how . . . the inscription of the father’s body in the text obliterates the daughter’s” (p. 152). And one of my aims is to show how the “father’s” text obliterates the “daughter’s” in several contexts: in the larger culture, the classroom, the actual Lolita text, and in its criticism. While Fetterley (1978) discusses the ways in which women identify against themselves as “immasculation” (see n.16), a related but very different move occurs when men are expected and assumed to identify with the male “standard” when that standard violates who they are as individuals. Individual men may be “immasculated,” not such that they are co-opted into participating in experiences from which they are explicitly excluded, but by being co-opted into participating in experiences in which they are assumed to be included but, given their individual reactions, are not. Are some male readers of Lolita asked to identify with a perspective that is in opposition to themselves as individuals even though it is often assumed to represent their gender? See n.6 on Lolita as seductress and n.23 on whether Humbert abandons his pedophilia and comes to truly love Lolita. This passage is a pivotal factor in most critics’ assumptions that Lolita is the unvirginal seductress, but few have noted – let alone explored and complicated – its specifics. Among those few are Levine, who says Lolita’s pain after the “honeymoon night” is probably due to her menarche, not because Humbert “had torn something inside her” (1979, 472). Levine, Toker (1989), and Tamir-Ghez (1979) comment, respectively, on “the stark act” and the “certain discrepancies” without clarifying what they think these actually are. Phelan, who indicates that he believes “life” refers to sex organ, refers to the “certain discrepancies” and the “stark act” without problematizing their meaning, although his interpretation of “life” enables us to infer that he defines them as organ size and intercourse (1981, 164). There is, of course, an important distinction between intercourse and procreation (as we see in Lolita’s fate), and perhaps Humbert is referring to Lolita’s lack of interest in or preparedness for producing children. However, we would be remiss to discount the association of intercourse with procreation, whether conception occurs during intercourse or not. For my purposes, I will emphasize the first step in procreation, intercourse. Critics offer a range of opinions on whether Humbert experiences true “moral apotheosis” and love or whether his confession is “a virtuoso performance: an artfully contrived apologia” (Haegert 1985, 778), although most critics argue that Humbert’s claims are genuine. Among those who believe Humbert experiences a true “moral apotheosis” or is no longer a pedophile or both are Alexandrov, Appel (1967), Bader, Bullock, Field, Fowler, Gullette, Levine, Maddox, Morton, Pifer, Tamir-Ghez, Toker, and O’Connor. Butler challenges this view, arguing that “Humbert’s expression of love still functions as one of the novel’s modulations” (1986, 436 n.22, 434), and Kauffman argues that Humbert is “far from being in love with Lolita,” that he is “completely obsessed with the mental image he incessantly projects with random girls and women” (1993, 159), and that what critics usually cite as signs of Humbert’s love are “signs not of overpowering love but of domination” typical of father–daughter incest (p. 161). 136 Part IV CULTURAL CONTACTS 8 NABOKOV AND THE SIXTIES D. Barton Johnson Nabokov in the sixties The sixties was the Nabokov decade in American literature. The decade was ushered in by Lolita which was still on the New York Times Book Review’s bestseller list nearly a year and half after its American publication (Boyd 1991, 387). Oddly enough, it was in competition with a novel by another Russian writer, Boris Pasternak, whose Doctor Zhivago had just won a Nobel Prize, although its author had been forced to decline (Boyd 1991, 370–373).1 By January of 1960 Lolita had just gone into its first American paperback edition (Juliar 1986, 222). With the release of Stanley Kubrick’s film version in June 1962, a wave of Lolita-mania swept the country. Lolita was that rare cultural phenomenon that left its mark in public consciousness from the most austere member of the intellectual community to sweaty-palmed adolescents in small-town America. Nabokov’s face (with actress Sue Lyon’s Lolita as a gigantic backdrop) appeared on the cover of Newsweek (June 25, 1962). Nor was Lolita the only source of interest in Nabokov. Just prior to Lolita’s film premiere, Pale Fire, which was to become the most critically acclaimed novel of the sixties, had appeared. Although much less erotic and far more cerebral than Lolita, it too soon climbed the bestseller list (Boyd 1991, 467). In a famous essay, Mary McCarthy hailed it as “one of the very great works of art of this century, the modern novel that everyone thought dead and that was only playing possum” (Page 1982, 136). Capitalizing on his new fame, Nabokov quickly published translations of his Russian work. The starkly modernist Invitation to a Beheading (1938), the work most “esteemed” by its author (Nabokov 1973, 92), had already appeared in late 1959 to the considerable mystification of an audience who knew Nabokov only as the author of Lolita. The Gift, called by one critic “the greatest novel Russian literature has yet produced in this century” (Field 1967, 249), appeared in 1963, quickly followed by The Defense (1964), The Eye (1965), Despair (1966), the play The Waltz Invention in 1966, and King, Queen, Knave in 1968. Only Mary, Glory 139 D. BARTON JOHNSON and most of the short stories were still untranslated by the end of the decade. The pre-Lolita English novels were also reissued. The Real Life of Sebastian Knight (1941), Nabokov’s first English-language novel, was republished in 1964, as was the 1947 Bend Sinister. The last, reissued in paperback by a major book club, included an extended foreword by the author that perhaps gave many readers their first inkling of the elegant intricacy that lay beneath the surface of his writings. Speak, Memory (1966), the revised and expanded version of Nabokov’s 1951 autobiography, was a Book-of-the-Month Club selection. In addition, there was the barrage of short stories and novel excerpts which appeared in masscirculation journals such as Playboy and Esquire. Nabokov also kept his name in public view with some thirty interviews that appeared during the sixties. The dozen-odd that were later collected into Strong Opinions, together with the newly written forewords to his translated novels, did much to create the public image of the elitist, strongly opinionated aristocrat who did not suffer fools gladly. It was a persona that, while not without basis, was often at odds with the more genial image Nabokov presented to his few intimates. Not content with republishing his own work, Nabokov found time in the sixties to see through to press his idiosyncratic translation of Pushkin’s Eugene Onegin with its three volumes of scholarly commentary (1964). As unlikely as it seems, Nabokov’s translation of a long Russian poem barely known to the American reading public led to one of the great intellectual imbroglios of the decade. Edmund Wilson, Nabokov’s old friend and the crusty dean of American literary critics, published a long, detailed, and thoroughly negative review of Nabokov’s literalist translation – not omitting to take several personal potshots at his former friend. Their feud, for that is what it was, was carried on in the intellectual press over a threeyear period and drew in dozens of participants. The elegant acidulity of the two main protagonists provided nearly as much entertainment for the intellectual community as Kubrick’s film had for the mass audience. Nabokov’s name was everywhere in the sixties. It was rare to pick up any issue of the literary press without seeing his name – a review of a new book, a quotation, Nabokov as a standard of comparison for a new writer, and so on. Samuel Schuman’s critical bibliography makes it possible to chart the ubiquity of Nabokov during the period. In pre-Lolita 1956, there were no publications about Nabokov. In 1958–1960, there were 112, mostly reviews of Lolita. 1962 saw twenty-seven review articles of Pale Fire, plus many more of the film version of Lolita. The years 1963–1965 brought about sixteen items apiece. The first critical monograph, Page Stegner’s Escape into Aesthetics, appeared in 1966, and was quickly followed by Andrew Field’s Nabokov: His Life in Art (1967) and Carl Proffer’s Keys to Lolita (1968). The first collections of scholarly articles also appeared: Nabokov: The Man and his Work, edited by 140 NABOKOV AND THE SIXTIES L. S. Dembo (1967), and Nabokov: Criticism, Reminiscences, Translations, and Tributes (1970), edited by Charles Newman and Alfred Appel, one of Nabokov’s best early critics. The first doctoral dissertation appeared in 1966 to be followed by a handful of others – often by people who would themselves become writers of fiction. Two notable examples were Susan Fromberg Schaeffer, author of the first Nabokov dissertation, and Bobbie Ann Mason, both of whom went on to become well-known but decidedly un-Nabokovian writers. If Nabokov’s Lolita ushered in the literary sixties, Ada, his longest novel, brought the decade to a rollicking close. It was immediately on the bestseller list (Boyd 1991, 567) and a Literary Guild book club selection (Juliar 1986, 307), although it seems unlikely many readers made it past the dense opening section – much less the abstract essay on the nature of time and space near the book’s end. Nabokov was on the cover of Time (May 23, 1969), the world’s most widely-read weekly. In the following months over a hundred review articles appeared. Just as the 1969 moon walk culminated the space race and the Woodstock festival marked the high point of the decade’s anti-establishment youth counterculture, Ada rounded off the literary decade in America. Nabokov loomed over the literary sixties in a way that no other American author has ever dominated a decade. This came about through a set of fortuitous circumstances. Lolita, whose sensational subject matter was a far more important source of its popularity than its literary merit, played a central role in the liberation of the arts from the old social strictures. The novel and ensuing film put Nabokov in the public eye, and the publishing industry, the media, and Nabokov himself were all quick to make the most of the situation. Nabokov, even in the days when his literary earnings were minuscule, had (mostly through his wife, Vera) paid close attention to the business side of his writing. Realizing the financial potential of Lolita, Nabokov conferred with the high-powered William Morris Agency in New York on his literary affairs (Boyd 1991, 482, 519), and for Hollywood negotiations hired one of the shrewdest and most aggressive agents in the American entertainment industry – Irving “Swifty” Lazar, who was to become a life-long friend. Nabokov found himself in an almost ideal situation (Boyd 1991, 365, 407). Most authors who enjoy a major commercial success are faced with the difficult task of producing new work before public interest fades. Nabokov’s position was very different in two ways. Not only was he suddenly famous and a hot commercial property, but he had a thirty-year reservoir of material that was unknown to his new audience. No less important was that unlike many writers of overnight sensations, Nabokov had the admiration of the literary critical community that places a work in the canon and, with luck, assures a long-term readership. Nabokov’s situation was unique. How many authors have the opportunity to publish the formidable output of a lifetime in a single decade? Nabokov 141 D. BARTON JOHNSON and his publishers exploited this combination of circumstances to make him the preeminent figure on the American literary scene of the sixties. Nabokov’s regal preeminence was undisputed, but distinctly odd, for he was reigning in absentia. The Nabokovs had moved to Europe in late 1959 and, apart from visits in connection with the movie script for Lolita and for the film’s premiere, never again lived in America (Boyd 1991, 388). During the early sixties Nabokov often spoke of his intention to return (Nabokov 1973, 28), but as the years passed the Nabokov family settled ever more firmly into their quarters at the Palace Hotel in Montreux which soon became a Mecca for the literary world. Nabokov and the American literary scene of the sixties Nabokov had made literary history in the sixties, but he was also a part of literary history. What was Nabokov’s role on the American literary scene? What was its impact upon him, and, more crucially, his on it? First, the social scene. Nabokov’s postwar years in the United States had been a relatively quiet time domestically. But after the calm (some would say “stupor”) of the Eisenhower years, came the turbulent sixties. The decade began auspiciously with the election of John Kennedy, the youngest-ever U.S. president. But by the time of Kennedy’s assassination three years later, the phenomena that were to overshadow the decade were emerging. It was Kennedy who ordered troops into Birmingham, Alabama, following civil rights protests and the arrest of Martin Luther King, and it was Kennedy who ordered the first U.S. “advisers” to Vietnam. By the end of the decade, the country was polarized over the civil rights issue and the peace movement. The two causes would merge to create a radicalized young generation and a genuine counterculture with its own music and literature. Nor was the shift in social attitudes limited to the counterculture. Sexual attitudes were changing, practically facilitated by the wide-spread use of the contraceptive pill. The American literary scene of the sixties was also a radical change from the quiescent fifties. “Literary” decades are, of course, artificial constructs that may or may not closely coincide with chronological decades. It can be argued that the American literary sixties actually began in the late fifties – with Nabokov’s Lolita as one of the trailblazers. Apart from the ephemera that make up most (but not all) of the New York Times bestseller list, one can distinguish three broad trends in “serious” American fiction that provided the context for Nabokov’s three novels of the period. There was a mainstream represented by J. D. Salinger, John Updike, Saul Bellow, Joseph Heller, the young Philip Roth, Joyce Carol Oates, and Norman Mailer (who would soon shift literary allegiances, as would Roth a decade later). The mainstream is, of course, a group too diverse to represent under any one label, but “realist” might serve as well as any. Salinger 142 NABOKOV AND THE SIXTIES was already near the end of his active literary career. The early sixties saw Franny and Zooey and Raise High the Roof Beam, Carpenter. John Updike, another writer closely associated with The New Yorker, launched his career as Salinger withdrew from the literary scene. Perhaps the best and most prolific of the mainstream writers, Updike published the first volume of his brilliant Rabbit series in 1960 and soon followed it with The Centaur. The highly erotic Couples, whose publication would have been unthinkable in pre-Lolita years, came out in 1968. These novels (and others), together with his many short stories and literary journalism, gave him a sort of sustained public visibility that made him Nabokov’s only competitor with the serious reading audience. So far as I know, only Updike, among the mainline writers, has expressed his appreciation of Nabokov at length. He warmly reviewed many of Nabokov’s novels for The New Yorker and other prestigious journals and offered his estimate of Nabokov as “distinctly . . . the best writer of English prose now holding American citizenship” (Page 1982, 154).2 Joyce Carol Oates was to express her admiration of Lolita as “one of our finest American novels,” while at the same time voicing a wide-spread sense that Pale Fire and Ada bespoke a “tragic” Nabokov whose compassion for his characters was limited to those few who shared his own subjectivity (Oates 1973, 37). Norman Mailer offered praise in a characteristically egocentric manner. When rumor reached him in the fall of 1969 that he might get the Nobel Prize, his first thought was, “How could one really look Nabokov in the eye? Or Henry Miller?” (Mailer 1971, 5–6). As Edmund White has remarked, Mailer and Nabokov, both widely imitated writers, constitute admirable antipodes on the American literary scene (1973, 34). Nabokov, for his part, was generally careful to restrict both his public commendation and condemnation to the dead. Indeed, when reviewing interviews prior to their publication, he often insisted that the interviewers strike out his off-the-cuff remarks about other authors (Nabokov 1989, 395–396; Boyd 1991, 485–486). Exceptions were his words of praise for Salinger and Updike (Nabokov 1973, 57). Saul Bellow, who has described his intent as the rediscovery of the magic of the world under the debris of modern idea, is wary of modernist writers such as Nabokov, who, for his part, shrugged off Bellow’s Herzog (1964), saying that he found it so boring that he left it unfinished (Boyd 1991, 491). In a personal letter to Carl Proffer about his Keys to Lolita, Nabokov wondered whether it was possible to eliminate a blurb for a critical study of Bellow, saying “Saul Bellow, a miserable mediocrity, should never have appeared on the jacket of a book about me” (Nabokov 1989, 434). Heller’s black humor novel of World War II, Catch-22 (1961), Nabokov harshly (and privately) dismissed as “a torrent of trash, dialogical diarrhea, the automatic produce of a prolix typewriter” (Boyd 1991, 422–423). Although Nabokov’s thoughts about Norman Mailer remain unrecorded, it seems certain that Mailer’s 143 D. BARTON JOHNSON highly politicized works such as Why We are in Vietnam (1967) and Armies of the Night, a surrealist account of the 1967 anti-Vietnam march on the Pentagon, would not have sat well with Nabokov’s views of either art or politics. This is broadly hinted at in two comments. Asked whether he had read and admired Mailer’s recent political and social reportage such as Miami and the Siege of Chicago (1968), he seemingly ducked the question: “You know, it sounds preposterous, but I was invited to cover that political convention in Chicago . . . I did not go, naturally, and still believe it must have been some sort of joke on the part of Esquire – inviting me who can’t tell a Democrat from a Republican and hates crowds and demonstrations” (Nabokov 1973, 125–126). In another interview when asked whether the sexual revolution had peaked, he replied, “Artistically, the dirtier typewriters try to get, the more conventional and corny their products become, e.g., such novels as Miller’s Thumb and Tailor’s Spasm” (Nabokov 1973, 133). Another major figure of the sixties, Philip Roth, would evolve from a more or less traditional chronicler of the American social scene to become the author of Portnoy’s Complaint which shared a place on the bestseller list with Nabokov’s Ada at the end of the decade (Boyd 1991, 567). Then there were the “Beats” – those spiritual children of Henry Miller – Kerouac, Ginsburg, William Burroughs, Ken Kesey, and others. Poet Allen Ginsberg’s plangent “Howl” (1956) and “Kaddish” (1961) launched the movement which was to be closely identified with San Francisco – in spite of its New York origins. “Howl”’s surrealistic indictment of America (“I saw the best minds of my generation destroyed by madness . . .”) led to one of the landmark obscenity trials that would liberate the literature of the sixties. William S. Burroughs’s Naked Lunch, a wildly comic and inventive work saturated with drugs, sex, and violence, had, like Lolita, originally been published by Olympia Press in Paris. Published in the U.S. in 1961, the same year as Henry Miller’s Tropic of Cancer, it too triggered an obscenity trial won by its publisher. But perhaps the most influential book of the Beat Generation was Jack Kerouac’s On the Road (1957), a thinly disguised novelization of the adventures of the author and his friends in their hedonistic search for beatitude. During the sixties, Kerouac was to produce a succession of novelistic chronicles of his peripatetic life. Another “Beat” work that enjoyed great popularity was Ken Kesey’s One Flew Over the Cuckoo’s Nest (1962). Kesey was to be a transitional figure in the Beat Generation as it evolved into the “flower power” generation with its psychedelic visions of a new world – a vision that reached its peak in San Francisco’s famed Haight-Ashbury district, circa 1967. The writers of the Beat Generation have, to my knowledge, left little record of their attitude toward Nabokov; nor he toward their writings. It can be assumed, however, that some of his blanket comments directed toward literary bohemia were aimed at the noisy movement. The “Beats’ ” 144 NABOKOV AND THE SIXTIES interest in Dostoevsky, their uninhibited confessional tone, “spontaneous” prose, and Buddhist inclination were all antithetical to Nabokov’s way of thinking and writing. The rise of the postmodernists – John Barth, William Gass, John Hawkes, Robert Coover, Donald Barthelme, Thomas Pynchon, and Gilbert Sorrentino – coincided almost exactly with the Nabokov decade of the sixties. At the center of the postmodern vision, at least in the sixties, was an all consuming nihilism in which redemption, if such were to be had, lay in obscure artifices seemingly spun by hidden artificers. “Reality” is unknowable, but pattern is where you find it (or make it up). The prototypical figure is Thomas Pynchon, who, oddly enough, was a student in Nabokov’s classes at Cornell, although only Vera professes to remember him and that for his eccentric handwriting – an irony that doubtless delights the reclusive Pynchon (Nabokov 1973, 75–76). Pynchon’s V. (1963) tells of Benny Profane, the human yo-yo, who embraces meaninglessness as a way of life. But he too is caught up in the search for the mysterious “V.,” a mythic woman who symbolizes controlling serenity. The Crying of Lot 49 (1966) is an equally riotous pursuit of seeming pattern in a world of aimlessness. John Barth’s elegantly bleak first two novels, The Floating Opera and The End of the Road, were written during the Lolita years, but the The Sot-Weed Factor (1960) and Giles Goat-Boy (1966) are archetypal postmodern works. Robert Coover, Gilbert Sorrentino, Stanley Elkin, Joseph McElroy, William Gass, and Richard Sukenick all published their first novels during the sixties. The postmodernist writers, many of them connected with major universities, are a very self-aware group. They tend to be well informed about the history of literature and to have strong theoretical views about literature and their place in it. Nabokov is one of their touchstones. At a 1988 gathering of leading postmodern writers, a French critic offered a humorous ten-point check list for spotting a postmodernist writer (Couturier 1993, 247). The last item was “he admires Nabokov, who, thank goodness, is dead.” According to Maurice Couturier who recounts the event (and supplied much of my information on Nabokov and the postmodernists), John Hawkes, one of the group’s senior figures, wryly objected that he in fact lamented the death of Nabokov whom he especially admired for his handling of sex and eroticism. More seriously, Hawkes has defined the avantgarde tradition in terms of facing the ugliness of the world with “a savage or saving comic spirit and the saving beauties of language. . . . A writer who truly sustains us is Nabokov” (Scholes 1967, 59). John Barth has singled out Nabokov, Borges, and Beckett as among the few writers who point to a way out of the “exhaustion” of literature which he and others saw looming in the late sixties (Barth 1967). Postmodernist comment on Nabokov is too abundant to summarize, but Pale Fire seems to be a key text for the movement. It is even explicitly mentioned in Sorrentino’s 145 D. BARTON JOHNSON irrepressible Mulligan Stew (1979) where a Nabokov interview is parodied and the author of Fire Pail is referred to as Vladimir Papilion. Pynchon incorporates wry allusions to Lolita into The Crying of Lot 49 (Couturier 1993, 249). Nor is it by chance that two of the postmodernists, Barth and Elkin, were invited to contribute to TriQuarterly’s Festschrift for Nabokov’s seventieth birthday (Appel and Newman 1970). Joseph McElroy (1973, 34) perhaps speaks for the group when he says: John Barth’s The Sot-Weed Factor would have happened anyhow – but surely one movement of fiction in the Sixties away from plainer modes and into parody, labyrinth, and self-conscious convolutions of wit owed something to Nabokov. Lolita and Pale Fire . . . made me feel freer to go ahead and slip the regular vein of sensitive, even-tempered American realism . . . Nabokov, who had left America at the beginning of the decade, was not present during the flowering of the postmodern movement. Although he did follow events in America, he did not choose to comment on the young postmodernists, apart from Barth and that only for “the lovely swift speckled imagery” in a short story (Nabokov 1973, 313). Given Nabokov’s work load in the sixties, it is more than possible that he did not follow new writing closely. Had he done so, however, he would have seen that it was among the postmodernists that he had left the deepest imprint. Their often obsessive interest in language play, literary allusion, and, most of all, intricate patterning all point to close familiarity with Nabokov’s work. There is, however, one essential difference. Postmodernist patterning was detached from any extra-textual reality because, for them, the existence of that reality was more than problematic. For Nabokov, “reality,” although infinitely complex, was at some level “out there” and somehow reflected in his art. Our brief survey of major trends in American writing of the sixties points to one obvious conclusion. Nabokov, however great his prestige, stood apart from all trends. And he would not have wished it otherwise. Nabokov and the legacy of the sixties Nabokov presents something of a paradox on the American literary scene of the sixties. Physically absent, he was nonetheless the most visible presence in American literature. Critics as various as George Steiner (1970, 127) and Tony Tanner (1971, 33) viewed him as a seminal figure of the period. Nabokov both was and was not an American writer. Steiner came closest to an accurate appraisal when he labelled him (along with Borges and Beckett) as “extraterritorial,” pointing to the phenomenon of the interpenetration of linguistic and cultural traditions that underlay 146 NABOKOV AND THE SIXTIES Nabokov’s work. Nabokov, however, clearly considered himself an American writer (Nabokov 1973, 26, 63). Granted this, his removal to Europe, which turned out to be permanent, seems strange. As we have noted, Nabokov initially planned to stay abroad for a relatively short time and in fact repeatedly spoke of his impending return even late in his life. So why did Nabokov, who considered himself an American writer and who asserted that it was in America that he had been happiest, never return (Nabokov 1973, 10)? The answer perhaps lies in the American sixties, for the country seemed to have changed greatly, and – for a man of Nabokov’s generation and background – for the worse. Throughout the sixties, Nabokov in Montreux closely followed events through newspapers, magazines, and conversation with American visitors. There is no denying that America was in the midst of a sea change: the anti-Vietnam demonstrations, the civil rights protests and riots, the psychedelic and sexual revolutions, and so on. Social disruption disturbed him greatly. Perhaps it evoked the Russia of his youth or Germany in the thirties – events that had turned his life (and the world) upside down. And, of course, the media upon which Nabokov relied for most of his information about the United States presented a highly colored version of events – in some cases virtually creating a social climate rather than reporting on it. Nabokov, a most apolitical man in spite of his hatred of totalitarian regimes, undoubtedly had an exaggerated sense of the degree of social chaos in the America of the sixties. His few “political” comments on the scene were largely motivated by his lifelong hatred of Communism and the herd instinct. In foreign policy whatever was bad for Soviet Communism was to be endorsed, and Nabokov strongly supported U.S. government action in Vietnam (Boyd 1991, 503). On the domestic scene the anti-war activities and the social disruption arising from the civil rights movement seemed to Nabokov to reflect a sort of herd mentality that he found abhorrent. At least from Switzerland, America no longer looked like the country that had provided Nabokov shelter and stability for the first time in his adult life. By the late sixties, America, at least in Nabokov’s mind, may have become, like the Russia of his youth, another lost paradise to which there was no return. The Nabokov decade left a double legacy to American letters – one to academic literary theory, the other to readers. The sixties saw the rise of literary theory, and Nabokov, a man who cheerfully despised literary abstractions, became an iconic figure in the literary wars. As the towering literary figure of the period, he, or rather his work of that time, became a focal point in the debate over modernism and postmodernism. The French critic, Maurice Couturier, provides a well-informed survey of the question (1993). Some critics have seen Nabokov as the last avatar of European high modernism. Others, such as Brian McHale, focussing on the English novels of the sixties, find Pale Fire to mark the dividing line between a 147 D. BARTON JOHNSON modernist Lolita and the postmodern novels that followed. Still other critics, such as Couturier himself, see all of “sixties Nabokov” (including Lolita) as postmodern. Whatever the answer to the conundrum (and much hangs on the obscure meaning of the term “postmodern”), one thing remains clear. Nabokov’s stature in the sixties was such that his work is considered pivotal in delineating two major literary movements. Questions of literary theory exercise only academics. Nabokov’s work of the sixties left more tangible legacies. Lolita was a landmark book in the liberation of literature from censorship both in America and elsewhere. Because of its unusual publication history, it had already (in small but influential circles) been recognized as a classic before its American publication. This, together with the courage and determination of Putnam, the novel’s old-line American publisher, did much to facilitate Lolita’s American publication in 1958. Much to everyone’s surprise, there was no obscenity trial. On the other hand, suits were filed against Lady Chatterly’s Lover in 1959, and subsequently against Henry Miller’s Tropic of Cancer and William Burroughs’s Naked Lunch. All of these were unsuccessful and were, indeed, ludicrous after Lolita’s bestsellerdom. Public standards had changed. Only after Lolita could Updike publish Couples, or Roth Portnoy’s Complaint. The “Beat” writers and the postmodernists were also major beneficiaries. Nabokov’s prestige on the American literary scene in the sixties was such that one would have expected his work to serve as a springboard for a generation of young writers. By and large, this did not happen. As we have noted, the postmodernists were his most obvious epigones, but the similarities are limited to an attitude toward language and patterning. A writer who can lay claim to closer affinity is David R. Slavitt, whose novels of the early seventies, Anagrams and ABCD, displayed a witty elegance of style and structure that was distinctly Nabokovian.3 The reasons for Nabokov’s lack of “successors” are not far to seek. No other American writer had Nabokov’s acute perception, rich multicultural background, linguistic dexterity, and lush imagination. Nabokov is destined to remain a standard of excellence and comparison, but not of emulation. Notes 1 Lolita was third in national sales in 1958 and eighth in 1959, whereas Doctor Zhivago was first in both years (Hackett 1976). Odder yet, in 1957 Russianborn Ayn Rand’s Atlas Shrugged had been on the list. All three would achieve their greatest sales as paperbacks during the sixties. Like Nabokov, Rand wrote in English but her literary roots were deep in the Russian didactic literary tradition. The trio contributed examples of very different Russian literary traditions to the American reading public: Rand – the social utilitarian à la Chernyshevsky; Pasternak – the philosophical realist novel à la Tolstoy; and Nabokov – the modernist. 148 NABOKOV AND THE SIXTIES 2 3 The Russian Americanist Aleksei Zverev (1995) provides a good survey of Updike’s views of Nabokov. As a young assistant editor at Newsweek, Slavitt had done the unsigned cover story on Nabokov at the time of the publication of Pale Fire and the release of the film Lolita. Already a published poet, he soon turned prolific novelist mixing “literary” novels with popular entertainments – the latter often under the name Henry Sutton. 149 9 VLADIMIR NABOKOV AND POPULAR CULTURE Suellen Stringer-Hye To myself I appear as an idol, a wizard bird-headed, emerald gloved, dressed in tights made of bright-blue scales. (Nabokov 1970, 105) “Icons are symbols and mindmarks,” says Marshall Fishwick, author of The Seven Pillars of Popular Culture: “they tie in with myth, legend, values, idols and aspirations” (Fishwick 1985, 134). They are external images to which adhere complex, sometimes paradoxical, but always potent, projections of psychic realities. In twentieth-century culture, they are communicated through the mass media and reach a large and popular audience. Related historically to the fetish, talisman or religious amulet, icons operate to transform commonplace objects or real people into receptacles of meaning. Inconsistent in its treatment of literary figures, the mechanism of iconography often leaves writers untouched. John Updike and Saul Bellow may be very good writers but they do not “conjure an image” in the same way figures like Mark Twain or Edgar Allan Poe do. It was only after the publication of Lolita in 1955 that the transplanted Russian author Vladimir Nabokov, together with the novel and its eponymous heroine, became popular culture icons. This chapter traces the history and evolution of these figures through their portrayal in American newspapers, magazines, and on the Internet, noting the ideological tensions that keep their iconography intact. The Reader’s Guide to Periodical Literature, which an anthropologist in some obscure future may also scan in order to glimpse the stars and interstices of twentieth-century popular culture, picks up Nabokov’s faint tracks soon after his arrival in America in 1941. An article profiling Nabokov appeared in the late 1940s but at that time there were more articles about cousin Nicolas Nabokov, the musician, than about the then criticallyacclaimed but popularly unknown writer. By the time the Reader’s Guide published its Cumulative Index to March 1957 through February 1970, 150 VLADIMIR NABOKOV AND POPULAR CULTURE now using the bolder print and sans serif font of those streamlining decades, articles about Vladimir Nabokov were abundant. Time and Newsweek carried reviews of his works while Life Magazine featured biographical articles about the author. By 1971 the furor had died down. A reviewer of Nabokov’s essay and interview collection, Strong Opinions, found that the book left “a lingering bad taste, since its author, outside his fictional enterprises and butterfly hunting lacked intellect” and that Nabokov was an “anachronism with little to offer serious readers” (Schuman 1975, 170). In 1967, Nabokov was not an anachronism. To read the selection of Playboy interviews collected for book publication is to walk down the halls of a wax museum of 1960s cultural icons: Vladimir Nabokov, Frank Sinatra, Ian Fleming, Malcolm X, Richard Burton, Ayn Rand, and Sartre along with Martin Luther King, Timothy Leary, and the Beatles. Upright among staring fish, as William Gass commented, Nabokov the image, Nabokov the icon, was a powerful presence in what has come to be loosely and imprecisely called the sixties (Gass 1973, 35). Characteristically, Nabokov himself had the best take on his notoriety. “Lolita is famous, not I. I am an obscure, doubly obscure poet with an unpronounceable last name” (Nabokov 1973, 107). An anecdote cited by Brian Boyd in Vladimir Nabokov: The American Years captures the refracted images of the sixties Nabokov; celebrity and fan, notable yet unknown. Nabokov himself describes his appearance at the opening of Stanley Kubrick’s film version of Lolita: Date: June 13, 1962. Setting: Loew’s State, Broadway at Forty-fifth Street. Scene: Crowds awaiting the limousines that drew up one by one, and there I, too, ride, as eager and innocent as the fans who peer into my car hoping to glimpse James Mason but finding only the placid profile of a stand-in for Hitchcock. (Boyd 1991, 466) The comparison with Hitchcock is perhaps more apt than one of physical resemblance and one that I will return to. Both artists stand at the crossroads of modern and postmodern culture – popularly accessible, yet critically acclaimed. The pages of the Reader’s Guide grew quiet in the first few years after his death in 1977. Interest was slightly rekindled by the reminiscences of his son Dimitri Nabokov and John Updike, and Vladimir Nabokov again charmed the “American Public” (and I use that term with all the warmth and attachment of a good politician) with the posthumous publication of his Cornell Lectures on Literature. Republication of his works as well as the appearance of a Lolita-like novelette, translated by Dimitri Nabokov, called The Enchanter, helped maintain Nabokov’s literary presence, 151 SUELLEN STRINGER-HYE causing one reviewer to pronounce that “even from the grave Nabokov is still the literary event of the season.” In the January 5, 1988 New York Times Book Review, Erica Jong wrote a tribute to Lolita entitled “Time has Been Kind to the Nymphet, Lolita 30 Years Later.” Nevertheless, in the eighties, the popular press said less and less about Nabokov, even though an impressive body of critical works was accumulating. The publication of Brian Boyd’s biography in the early 1990s was just in time for its reviews to be indexed electronically. Its publication marks the transition between the living and the posthumous reputation of Nabokov the man. Discussed regularly on the Internet in reader’s forums such as rec.arts.books, rec.arts.literature, and Nabokv-L, Nabokov is now a comfortable inhabitant of cyberspace. Zembla (http//www.libraries.psu.edu/ iaoweb/nabokov/nsinfo.htm), a site devoted to both scholarly and popular interest in Nabokov, is now on the World Wide Web. In 1996, Adrian Lyne, director of “Indecent Proposal,” “Fatal Attraction,” and “9 Weeks,” completed a cinematic remake of Stanley Kubrick’s 1962 version of Lolita which Lyne says “adheres more closely to the book’s narrative, including the stylish wit, humor, intensely lyrical and wildly funny dialogue.” The difficulty Lyne had in finding an American film distributor mirrors Nabokov’s own difficulty in the 1950s in finding an American publisher for Lolita. Nabokov is still remembered, often revered, by a disparate and often rival audience of American artists, poets, writers, musicians, filmmakers, politicians, and critics. Like so many of the supernovae of the sixties, Nabokov’s universe has expanded since its explosion and much of this stellar matter is now the household dust of numerous and unforeseen domiciles. A lingering but perhaps fading image of Nabokov is that of the sterile aesthete. Influenced by early critical works such as Page Stegner’s Escape into Aesthetics, this perception has persisted especially in some of Nabokov’s academic readership. In the interviews collected in Strong Opinions, Nabokov said he was attempting to paint a not altogether unpleasing picture of his personality, but as in all works by Nabokov, the reader had to be wary of trap doors and sleights of hand. Those who took him at his word generally did not and still do not like him. His arrogance, the lack of spontaneity, abrupt dismissals of fellow writers, all rubbed would-be admirers the wrong way. In my copy of Strong Opinions, borrowed from the library, I see penciled in the margins the notation, “extreme individualism,” while Nabokov’s disdain “for the earnest case histories of minority groups” elicits a provoked question mark. The annotator’s patience is sorely tested by Nabokov’s defense of the “earnest and unselfish motives of the US to nations in distress.” He or she must have slammed the book shut in disgust because there are no more exclamated “how trues.” The perception of Nabokov as a master gamesman, indifferent to questions of morality and human sentiment, continues to evoke 152 VLADIMIR NABOKOV AND POPULAR CULTURE either admiration or contempt, depending on one’s own sensibility. This bipolar view of Nabokov informed much of the early Nabokov criticism and, in spite of books such as Michael Wood’s The Magician’s Doubts, which attempt to present a more complex vision of Nabokov’s art, the potentially sterile maxim, “Art for Art’s sake,” continues to be a convenient epithet for the Nabokovian outlook. Nabokov’s creation Lolita obscures, while at the same time enhancing, the author’s image. Like Charlie Chaplin, to whom Nabokov has sometimes been compared, and whose works he is said to have admired, Nabokov after death no longer necessarily seems to belong to the America he helped to create. The Vladimir Nabokov wondering to Alfred Appel about the currency of slang terms such as “square” and “corny” and the sexual overtones in the word “uptight” (Appel 1974, 63), now can appear remote and elevated; a marbled bust for reporters who speak of him as “one of the great writers of the twentieth century.” Lolita, on the other hand, is still crammed with references to American popular culture from the Marx Brothers to Dick Tracy, so it is appropriate that she should take her place alongside these other icons of popular culture. Thomas Reed Whissen, in his Classic Cult Fiction: A Companion to Popular Cult Literature, includes Lolita along with other cult classics such as J. D. Salinger’s Catcher in the Rye or Jack Kerouac’s On the Road in his survey of this fictional genre. According to Whissen, cult literature is differentiated from other literary genres mainly by the status bestowed on it by its readers. Cult books are not written intentionally and the fact that Lolita became one was perhaps as much a surprise to its author as it was to his previous American audience who were, for the most part, readers of the New Yorker. Cult books seem to express and embody the cultural gestalt (to use a word from the sixties) of a given period of time. Some cult books lose their appeal when that epoch has passed and others continue to attract a loyal following. There are several reasons, aside from its literary merit, why Lolita remains vivid in the American popular imagination. Lolita is one of the richest, most complex, and elusive of all the “road” novels comprising an unofficial genre of American literature and a theme in popular American art. From the Journals of Lewis and Clark to Walt Whitman’s “Song of the Open Road,” Americans have expressed their concepts of freedom in visions of the freeway. In the 1960s this metaphor was particularly potent and the highways and byways of Woodie Guthrie’s “This Land is Your Land” became Bob Dylan’s “Highway 61 Revisited.” In film, the highway figured in movies such as “Easy Rider” and on television in dark neon in shows such as “Route 66.” It is difficult to conceive of two more dissimilar styles than that of the spontaneous Jack Kerouac, celebrator of the unconscious, and the intricate, intellectual patterning of Vladimir Nabokov, advocate of the glories of the conscious mind. However, one 153 SUELLEN STRINGER-HYE cannot help comparing On the Road with Lolita, noting that both cult books, important icons of 1960s American popular culture, revolve thematically around images of the road and investigate notions of freedom and disaffection, topics popular in the 1960s and still very much with us. Whissen also notes the way in which a book achieves cult status by exhibiting a romantic hope and longing, as well as romantic disillusion and melancholy, with indebtedness to the romantic tradition being a fixture of cult status, if not of bestsellerdom. In Robert Pattison’s study The Triumph of Vulgarity: Rock Music in the Mirror of Romanticism, the influence of the romantic literary tradition on Rock and Roll is also explored. It should be no surprise then that Sting, the lead singer of “The Police,” uses Nabokov in the lyrics of the 1988 hit song “Don’t Stand So Close To Me.” Courtney Love of the band “Hole,” outfitted in teen-queen baby-doll dresses, evoked Lolita in the early 1990s fashion statement dubbed the “Kinder-whore” look. That her husband, Kurt Cobain, entitled an album, by the Seattle band Nirvana, Incesticide, echoing the insect/incest theme in Nabokov’s Ada, is no doubt a coincidence. Still, the parallels serve to highlight another of the media arenas in which Lolita continues to thrive in the popular imagination. Many cultured readers condemn, along with Humbert, Lolita’s shallowness, her taste for fudge, pop music, and gooey sundaes. Yet it is the eerie vulgarity of her charms that seduces Humbert first, and the reader next, into her enchanted sphere. Who can forget the moment in which the dreary bourgeois posturing of an adult Charlotte gives way to the immediate loveliness and rapture of the garden, the green, and the stern dark spectacles which appear again in the opening pan in Kubrick’s movie? Dolly, mimicking stardom, displays a trashy glamour, a sarcastic defiance that singers such as Courtney Love and Madonna use to their advantage. Drew Barrymore, famous for her childhood role in the film ET: The Extraterrestrial, in a People Online interview, cites both the character Lolita and the actress Sue Lyon, who plays Lolita in Kubrick’s film, as “an inspiration” for her later work. In the essay, “Lolita Unclothed,” pop critic Camille Paglia asserts that Lolita was a “grenade” tossed into the landscape of 1950s culture, exploding the myth of sexless and saintly children created by Rousseau and Wordsworth at “the birth of Romanticism” (Paglia 1994, 146). In the same article, author Anne Rice is quoted as saying “Lolita has become today . . . the image of the seductive young girl who is every man’s dream of sensuality” (Paglia 1994, 149). The Lolita Complex (an unhealthy desire for underage girls), and the Lolita Syndrome (the secret longing of middle-aged males for a young girl), are known today both clinically and in the vernacular. In 1994, Amy Fisher, and her resonantly named lover, Joey Buttafuoco, launched a series of headlines and television movies under the title “Long Island Lolita.” A group of paedophiles calling 154 VLADIMIR NABOKOV AND POPULAR CULTURE themselves the Lolita Society haunts the Internet. Hundreds of adult bars and strip tease artists revel in the image of the pre-pubescent enchantress. Titles such as A Lot of Lolita inspire spicy novels and adorn the shelves of adult video stores worldwide. Lolita is the “keyword” of choice for hundreds of pornography sites on the World Wide Web. Humbert has not failed to convince many readers that his needs were not criminal and his passions were justified. Some women, tired of the exploitation implicit in the Lolita myth, condemn the book. Kim Morrissey who wrote Poems for Men Who Dream of Lolita complains that the character Lolita has no voice (Paglia 1994, 157). Paralleling these complaints are the feminists critical of “baby-doll” fashion, seeing in it the infantilization of the female (Smith 1994, 25). These criticisms point to the ambiguous hold that both the character and the novel Lolita have on the popular imagination. Is Lolita a story about the beauty of Eros or the horror of incest and child abuse? Is Lolita a vixen seductress or the innocent victim of molestation and exploitation? How these questions are answered depends on the reader. The tension between Nabokov’s not easily detected intentions and the popular impression of Lolita-as-sexkitten fuel the debate. In truth, “Lolita” is Humbert’s creation, a mirage engendered by Humbert’s obsessions and his reading list. The girl in the book is known to her friends and family as “Dolly.” Nabokov allows us to see her through the gaps in Humbert’s prose. Describing Lolita as a combination of naiveté and deception, charm and vulgarity, blue sulks and rosy mirth, “Lolita, when she chose to,” says Humbert, “could be a most exasperating brat.” This portrait, used not unsuccessfully by Humbert in order to win the reader’s sympathy, is not only the description of Lolita, the mythological nymphet, but also a portrayal of normal childhood behavior. Dolly, Humbert implies, was warped by the popular culture in which she was steeped, but Nabokov lets us know that she also retained the unclouded perceptions of an intelligent child who could see through the pretense and pedantry Humbert had to offer. Without refinement, she had a child’s disdain for the false in the adult world. Like J. D. Salinger’s Holden Caulfield, she was bored by the commonplace trivialities to which she was expected to attend. Even before her life turned sordid, she longed for the same magic, romance, and style that Humbert’s culture had found expressed in literature, drawing hers from movies, magazines, and pop music. Like Caulfield, she belonged to a generation of children who, while perhaps lacking cultivation, were still hungry for otherworlds. Nabokov’s fondness for his work is legendary but his empathetic regard for Lolita is not always apparent. The interplay between Humbert’s romantic invention, “Lolita,” and the criminality of his actions towards Dolores Haze portrays the competing demands of the aesthetic impulse and the responsibility of the dreamer to differentiate other from self. These complexities 155 SUELLEN STRINGER-HYE are still being negotiated within the culture, provoking debates about gender, fashion, pornography, and art. Wherever these issues arise, the Lolita icon is inevitably brought into the fray. Stanley Kubrick’s “Lolita” echoes Nabokov’s “Lolita” in its status as an object of cult veneration. Alfred Appel in his work, Nabokov’s Dark Cinema, documents the influence of cinematography on Nabokov’s novels. The anecdote cited above, in which Nabokov alludes to his physical resemblance to the famed director Alfred Hitchcock, implies a recognition on the part of Nabokov of an affinity between the two artists that he ˇ ˇ himself was the first to notice. Slavoj Zizek notes that Hitchcock’s films from “Rebecca” to “Under Capricorn” are “thematically centered on the perspective of the female heroine, traumatized by an ambiguous (evil, ˇ ˇ impotent, obscene, broken . . .) paternal figure” ( Zizek 1992, 4). Lolita too turns on such a theme. It also inverts playfully, if not intentionally, the Hitchcockian theme employed in the films of the 1950s and early 1960s; that of the male hero blocked from “normal” sexual relations by what ˇ ˇ Zizek, in the language of Freud, terms “the maternal super ego” but whom Humbert, feeling blocked in his access to Lolita, calls “the big cow.” A closer comparison of the two artists is beyond the scope of this chapter; it is enough to note the way in which the psychic color of Hitchcock’s portrait lends its hue to Nabokov’s neighboring profile. Evidence of Lolita’s impact on literary popular culture can be found in a Lolita parody written in a sub-genre of science fiction called cyberpunk, which appeared in the electronic journal, The Holy Temple of Mass Consumption. Written by Chuck Hammell and entitled, “A New Lo; or Everybody Into the Memo Pool,” it is the tale of Charlie Holmes, Lo’s first lover who died in Korea. In “A New Lo,” Charlie is now a virtual-reality huckster who, after hawking a five-minute “ride” to a rich tourist just arrived from another planet, reminisces about his first love, giving the voice to Lolita that Humbert never does. Like, he is just sooo possessive, you know?” she would go on. “I mean, OK, he takes me on cross-country trips, right? And, like, he buys me lotsa nice presents. But, Jeez, he’s got all these rules, you know? He doesn’t want me dating other guys. I can’t smoke, I can’t do amateur theater, I can’t do this, I can’t do that. I mean, honestly, he treats me like a child! I don’t need this. In a stylized parody of one of Humbert’s quatrains, Charlie Holmes asks: Where are you hiding, Dolores Haze? In your silicon circuitry, snoozin’? Let me turn on your pixels in sixty-nine ways – Your end-user’s hot for some usin’ . . . 156 VLADIMIR NABOKOV AND POPULAR CULTURE Lolita does not die in Grey Star as she does in Nabokov’s novel but is saved by the narrator. Nabokov is, of course, cited most often by the media in connection with Lolita, but this is far from being the only point of reference. Speak Memory, Lectures on Literature and, increasingly, Pale Fire are the Nabokov books most frequently mentioned in those reading lists, common in newspaper columns, that let us know what some intellectual, celebrity, or politico is currently reading. American writers since the publication of Lolita have labored under his influence. In the January 1973 Saturday Review issue devoted to Nabokov, novelist Joseph McElroy allows that Lolita and Pale Fire made him “. . . feel freer to go ahead and slip the regular vein of sensitive, even-tempered American realism and try to write elaborately clued existential mysteries in tones of various voice that might include the arch or absurdly overbearing” (McElroy 1973, 34). Edmund White, in the same issue notes, that without Nabokov, “Americans might have gone on imitating Norman Mailer, cultists of tough-guy sincerity, thinking ars gratia artis meant Oscar Wilde; how useful to know it can also mean ardor, grace Ada” (White 1973, 34). Twenty years later in a collection of essays entitled the Burning Library, White expresses his admiration for Nabokov: Nabokov must be ranked, finally not with other writers but with a composer and a choreographer, Stravinsky and Balanchine. All three men were of the same generation, all three were Russians who were clarified by passing through the sieve of French culture but were brought to the boiling point only by the short order cook of American informality. All three experimented with form but none produced avant-garde trash as Nabokov called it, for all three were too keen on recuperating tradition . . . as parodists all three artists loved the art they parodied and made modern by placing old gems in new settings. . . . Most important, all three men had a vision of art as entertainment, not to be sure as a vulgar courting of debased popular taste but as a wooing of shrewder, more restless though always robust sensibilities. (White 1994, 186) Other writers also contemplate Nabokov in their musings. Saul Bellow commends Nabokov’s sense of aesthetic bliss in a series of essays called It All Adds Up (Bellow 1994, 160). John Updike, in several interviews, states that he was attempting to capture the kind of magic Nabokov manages in The Gift for his novel Brazil. Nabokov’s influence on Thomas Pynchon and Martin Amis is well known and often cited, as evidenced at the several World Wide Web sites devoted to these authors. 157 SUELLEN STRINGER-HYE Nor are writers alone in claiming kinship with Nabokov. David Cronenberg who directed the movies The Fly, Dead Ringers, and Naked Lunch, remarks that his overwhelming admiration for Nabokov made it impossible for him to write, only finding his voice finally, in cinematography (Johnson 1993). Christopher Plummer, the actor and long-time Nabokov fan, frequently reads from Nabokov’s works in his one-man shows and has acted the role of Professor Vladimir Nabokov, lecturing students on Kafka’s “Metamorphosis” in the PBS production, Nabokov in Residence. Even politicians such as Massachusetts ex-Governor William Weld, whom journalistic profiles often characterize by his love for Nabokov, is quoted as saying, “If God truly resides in the well-chosen word, Pale Fire is a work of divine inspiration.” The pages of today’s newspapers are crammed with reviews of worthy or not so worthy new novels inevitably “reminiscent of Nabokov.” Good or bad, Nabokov is often the yardstick against which the talent of today’s authors is measured. An article in Time discrediting Freud uses Nabokov’s early pronouncements against the “Viennese Quack” to bolster the argument (Gary 1993). A coiner of words such as “nymphet,” Nabokov has been cited by the American Heritage Dictionary for being the first to use the phrase “politically correct”: The earliest citation submitted . . . is actually “politically incorrect.” In 1947 Vladimir Nabokov used that phrase in his novel Bend Sinister to describe the hero, a college professor living under a totalitarian regime who tries to avoid political commitments of any kind. (Marvel 1994) Language maven, William Safire, credits Nabokov with first using the term “endgame,” a political appropriation of chess terminology (Safire 1994, 13). Soccer player, chess player, lepidopterist, insomniac – there is a bit part to play for every aspect of Nabokov’s personality. Icons of popular culture fade or retain potency depending on their continued significance. Like Hitchcock, Nabokov, at least in his relation to Lolita and his later works, represents a cultural turn to postmodernism. As ˇ ˇ described by Zizek, the modernist work of art which through its incomprehensibility resists interpretation is contrasted to the postmodernist objet d’art which tends to appeal to a mass audience but renders the commonˇ ˇ place full of meaning (Zizek 1992, 1). Nabokov’s own attitudes toward popular culture are problematic. He seems on the one hand to detest its vulgarity while on the other to celebrate its vigor. Readable by the many, exquisitely erudite for the few, Nabokov is, if we need labels, a modernist who in his 1939 Russian poem “Oculus” wonders to himself, “Who can 158 VLADIMIR NABOKOV AND POPULAR CULTURE care for a world of omnipotent vision if nothing is monogrammed there?” (Nabokov 1970, 110). Nabokov, that most mandarin of twentieth-century writers, has left a stamp on the popular culture of his era that is little short of remarkable. 159 WORKS CITED INTRODUCTION Appel, Alfred (ed.). 1970. The Annotated Lolita. New York: McGraw-Hill. Bader, Julia. 1972. 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May 31: 665. Smith, Joan. 1994. The Guardian. September 24. Stegner, Page. 1966. Escape Into Aesthetics; The Art of Vladimir Nabokov. New York: Dial. Whissen, Thomas R. 1992. Classic Cult Fiction: A Companion to Popular Cult Literature. New York: Greenwood. White, Edmund. 1973. “The Esthetics of Bliss.” Saturday Review of the Arts January: 33–34. 171 WORKS CITED —— 1994. “Nabokov: Beyond Parody.” The Burning Library. David Bergman (ed.). New York: A. A. Knopf. Wood, Michael. 1994. The Magician’s Doubts: Nabokov and the Risks of Fiction. London: Chatto & Windus. ˇ ˇ Zizek, Slavoj. 1992. Everything You Always Wanted To Know About Lacan But Were Afraid to Ask Hitchcock. London: Verso. 172 INDEX abuse 5, 8–10, 92, 97, 105, 108, 111, 117, 119, 122, 130, 132; see also rape alienation 7, 26, 28, 30–31, 34, 36–37, 53–55, 67; see also exile America, (American) 3, 6, 8, 9, 16–18, 21, 25, 61, 75, 77–78, 81, 83, 85–86, 88, 92, 97, 112, 115, 139–158 art for art’s sake 6, 18–20, 45, 153, 157 artifice 3–4, 11, 28, 61–63, 105, 145 author 3–4, 7, 27–28, 30–33, 35–38, 60, 68, 72, 115; as dictator 30, 35; as magician 25–26, 61, 153, 157 authorized interpretation 3–5, 7, 36, 38–40, 57, 60–63, 72, 115–118, 126–127; see also manipulation; Nabokovian critics Bakhtin, M. M. 127 Barth, J. 145–146 Barthes, R. 3, 76, 87, 109 Beat writers 9–10, 144–145, 148, 153 Bellow, S. 143, 150, 157 Bend Sinister 6–7, 20, 24–40, 64, 140, 158; Introduction 39–40; David 31, 34–35; Ekwilism 32–36; Ember 24, 35, 37–38; Krug 7, 24–25, 27, 30–39; Paduk 7, 25, 30–32, 34, 36–38 Bildungsroman 48–49 Bolsheviks 26, 59, 61; see also Soviet Union, (Soviet) Booth, W. 102, 113, 115, 135 Borges, J. L. 4, 145–146 boxing 63–64, 66, 70 Boyd, B. 27–28, 30, 40, 60, 141–144, 151–152 Brecht, B. 7, 28–29 Buchanan, P. 75 Burroughs, W. S. 144, 148 Buttafuoco, J. 10, 154 butterfly 19 Calvino, I. 28–29 Catullus 61 Chaplin, C. 10, 153 Chekhov, A. 21–22 Chernyshevsky, N. 21, 45, 148 chess 61, 158 Cincinnatus 34, 40 class 1, 3, 21, 28, 33, 70, 75, 81–82, 84, 100 climax 63–65, 95, 98, 100 crewcut 8, 74–77, 81–82, 84–85 Cronenberg, D. 158 Dickens, C. 18, 21–22 discourse 1–4, 5–8, 10, 64, 68, 72, 114, 119–120; and ideology 1–3, 5, 10 Dostoevsky, F. 22, 31, 46, 145 double, (doubling) 7, 9, 24–25, 30, 48, 50, 52–54, 56, 75, 112, 114–115, 117, 119, 122, 124, 126–133 Eagleton, T. 1–2 Edelweiss, M. 7, 59–73; see also Glory Ekwilism, 32–36; see also Bend Sinister; Party of the Average Man Elms, A. C. 68–69 Enchanted Hunters 4, 8, 95, 98–100, 115 England, (English) 49, 59–60, 64–65, 67, 72 Europe, (European) 8, 16–17, 75, 78, 81, 85–86, 103, 142, 147 173 INDEX exile 44, 48, 53–56, 59, 61, 67, 69, 72–73, 75; see also alienation Eye, The 7–8, 43–58, 139; Kashmarin 8, 47, 49–51, 55; Matilda 46–47, 56; Smurov 7–8, 46–58; Vanya 7, 46–47, 53–55 father 27, 33, 35, 44, 46, 62, 68, 97, 116–118 feminist criticism 8, 70, 91–92, 94, 101, 103–105, 131, 135, 155; see also misogyny; women Field, A. 16, 46, 57, 59–60, 68, 133, 139–149 Fisher, A. 10, 112, 154 Fitzgerald, F. Scott 17, 20 focalizing 93–94, 100, 102, 104, 107, 109; see also narrative, (narrator) Foucault, M. 2–3, 10, 76, 82 France, (French) 17, 69, 74, 77–78, 81 Freud, S. 7, 54, 62, 68–69, 87, 156, 158; see also psychoanalytic criticism fucking with 99, 131 game, (gaming) 4–7, 10, 27, 39–40, 53, 60–68, 102, 105, 122–126, 128, 152; see also sports gender 7, 115, 120, 135–136; see also masculinity; women Germany, (German) 3, 9, 32, 48–49, 53, 55, 67, 69, 73, 147 Gingrich, N. 75 Glory 7, 59–73, 139; Introduction 60–63, 67–68, 70–72; Darwin 59, 64–72; Martin 7, 59–73; Moon 61, 69, 71; Sonia 59–61, 65–67, 70, 72 goalkeeping 64–66 Green, G. 62, 68 heteroglossia 127, 130 heterosexuality 8, 59, 75–76, 79–80, 83–85, 87, 98 hierarchy 6, 8, 60 Hitchcock, A. 10, 151, 156, 158 Hitler, A. 32 hommosexuality 77–78, 86 homophobia 56, 71, 73, 75 homosexuality 7–8, 44–45, 48–55, 66, 70–73, 74–88, 98 Humbert, H. 8, 34, 55, 88, 91–110 hypermasculinity 77, 83–84; see also masculinity ideology 1–6, 25–27 32, 34, 46, 60, 63, 67–68, 70–71, 75–76, 79, 82–83, 86, 103, 108, 115, 120, 150; and discourse 1–3, 5, 10; and power 1–3, 120 Internet 9, 150, 152, 155–157 Irigaray, L. 77–78, 86 Italy, (Italian) 47, 51 Ivanov, G. 43–45, 47–48 Jameson, F. 27, 75–76, 79 jouissance 4, 104 Joyce, J. 4, 10, 19, 102–103, 106, 109 Juvenal 76–77, 86 Kauffmann, L. 8, 99, 103–105, 108, 113, 133–136 Kermode, F. 7, 39–40 Kinbote, C. 8, 55, 58, 65, 71–72, 74, 76–88; lilac trousers of 74, 77–78, 81–82, 86; windbreaker of 74, 77–78; see also Pale Fire Knight, S. 55, 57 Krug, A. 7, 24–25, 27, 30–39; see also Bend Sinister Kubrick, S. 140, 151–152, 154, 156 Kuzmin, M. 7, 43–58 Lenin, V. I. 26 “Lola” (The Kinks) 111–112, 115, 130 Lolita 6–7, 8–11, 15–16, 20, 25, 39, 63, 88, 91–136, 139–146, 148–158; Afterword 40; Barbara 98; Charlie 98, 121–124, 128, 156; Charlotte 98, 154; Foreword 99; Humbert 8, 34, 55, 88, 91–110, 154–156; Lolita 8–10, 34, 63, 65, 91–136; Quilty 100, 103, 114, 133 love–triangle 47, 66–67, 70–71 McVeigh, T. 8, 76 Madonna 112, 154 Mailer, N. 143–144, 157 manipulation 3–4, 21, 62, 91, 96–97, 105, 107, 122, 124, 128; see also authorized interpretation Marx, (Marxist) 2, 6–7, 17, 22–23, 27–28 masculinity 7–8, 53, 63–66, 70–72, 74, 76–78, 81, 84–85, 94, 96, 105, 114, 118, 120, 136, 154–156; see also hypermasculinity 174 INDEX masturbation 65, 98–99 Miller, H. 144, 148 Mills, S. 1–2 misogyny 60–62, 70, 72, 74, 94, 105, 113, 116–117, 120, 122–123, 154; see also feminist criticism; rape; women misreading 7, 9, 26, 29, 36, 99, 103–106, 108, 118–120, 126–128, 130–131; see also reader morality 15, 18, 19, 21–22, 48, 50, 76, 95, 97, 101, 107, 108, 118, 136, 152 Morrow, N. 4, 70 mother 7, 49, 62, 64–65, 69–71, 73, 111, 126, 156; see also womb Nabokov, V: and politics 6–7, 9, 17–20, 25–26, 33, 37–38, 61, 144, 147, 152; and readers 4–5, 25, 27–30, 36–40, 43, 57, 60–63; Ada 140, 144, 154, 157; Bend Sinister 5–7, 20, 24–40, 64, 140, 158; “Cloud, Castle, Lake” 69; The Defense 43, 139; Despair 68, 139; The Enchanter 151; The Eye 7–8, 43–58, 139; The Gift 43, 56–57, 139, 157; Glory 7, 59–73, 139; Invitation to a Beheading 139; King, Queen, Knave 5, 43, 61, 64, 72, 139; Laughter in the Dark 64; Lectures on Literature 151, 157; “Lips to Lips” 46; Lolita 5–7, 8–11; 15–16, 20, 25, 39, 63, 88, 91–136, 139–146, 148–158; Mary 5, 55, 139; Pale Fire 5–6, 8–9, 39, 43, 58, 65, 71–72, 74–88, 139–140, 145–147, 149, 157–158; Real Life of Sebastian Knight 140; Speak, Memory 33, 59, 70, 140, 157; Strong Opinions, 140, 151–152; “The Vane Sisters” 61; “The Visit to the Museum” 29; The Waltz Invention 20, 139 Nabokovian critics 3–5, 9–10, 43, 68, 115–117, 127–129, 132–133, 136, 152–153; see also authorized interpretation Narcissus 8–9 10, 52, 54, 56–57; narcissism 52–55, 103 narrative, (narrator) 4, 5–6, 8, 52, 91, 94, 98–99, 102–103, 105, 108, 113–114, 116, 118, 122, 125–126, 128–129, 131; see also focalizing Nazis 26, 32, 36 Old Testament 95, 101 Orwell, G. 18, 22 Paduk 7, 25, 30–32, 3, 4, 36–38; as Toad 30–31, 38; see also Bend Sinister Paglia, C. 8, 94–97, 101, 109, 154–155 Pale Fire 5–6, 8, 39, 43, 58, 65, 71–72, 74–88, 139–140, 145–147, 149, 157–158; Bob 8, 74, 76–77, 79, 84–87; Christopher 82; Gordon 83; Gradus 34, 80, 82–5; Kinbote 8, 55, 58, 65, 71–72, 74, 76–88; Shade 34, 58, 74 parody 28, 51, 57, 62, 87, 103, 105, 146, 156 Party of the Average Man 30, 33, 36; see also Bend Sinister; Ekwilism peace movement 17–18, 142; see also Vietnam War phallus, (phallic symbols) 51, 70, 103 photography 47–48, 74, 77 ping-pong 74, 80; see also tennis Plato 22; Phaedrus 8, 50, 52, 56 Plummer, C. 158 polarity 6, 8, 60–61, 75–76, 81–82, 86, 113, 127 politics 3, 6–7, 9–10, 17–20, 22, 25–26, 33, 37–38, 61, 144, 147, 152 polyphony 5 pornography 40, 92, 155 postmodernism, 8–9, 79, 92, 102, 145–148, 151, 158 Proust, M. 19, 22 psychoanalytic criticism 7, 10, 53–54, 57, 62, 68–70; see also Freud Puritans 83, 85, 88 Pushkin, A. 6, 16, 22, 140 Pynchon, T. 145–6 Quintilian 4, 10 Rampton, D. 5, 133–134 rape 9, 27, 51, 84, 86, 92, 98, 100–101, 107, 112, 115–118, 126–128, 131; see also abuse 175 INDEX reader 3–5, 7, 25, 27–28, 29, 36, 38–40, 52–53, 57, 60, 68, 87–88, 93, 102–103, 105, 107, 114–115, 117–120, 124–128, 130, 134–135, 151–153; see also misreading Rockwell, N. 86, 97 Rorty, R. 18–19, 21–22 Roth, P. 144, 148 Rowe, W. W. 63–65, 68, 72 Russia, (Russian) 3, 6, 9, 17–18, 21, 26, 44–45, 48–49, 53–55, 59, 61, 69, 71–72, 76, 147; see also Soviet Union, (Soviet) St. Petersburg 33, 49 Salinger, J. D. 142, 153, 155 satire 28–29, 105 Sawyer, T. 86 Sedgwick, E. K. 7, 70, 75, 87 sexuality 44, 46, 54, 62–73, 81, 86–87, 99, 112–114; see also homosexuality Shakespeare, W. 82; Hamlet 38; King Lear 36; Macbeth 35 Slavitt, D. R. 148–149 soccer 63–67, 158 Soviet Union, (Soviet) 17, 26, 36, 55, 59, 69, 72, 147; see also Russia, (Russian) spanking 80, 87 sports 7, 62–67, 73–74, 78–81, 85–87 stereotyping 64, 67, 70, 101; see also ideology; misogyny subjectivity 6–8, 48, 53–54, 67, 70, 72, 81, 86–87, 97, 106, 114–115, 120, 156 sunbathing 57 Swift, J. 31 tennis 62–64, 73; see also ping-pong Timbuk 3, 76 Toker, L. 60, 68, 134 Trilling, L. 103, 107, 110, 127, 133, 134–135 Tristan and Isolde 73 Updike, J. 142–143, 148–151, 157 Vietnam War 9, 17–18, 142, 144, 147; see also peace movement Wayne, J. 78, 86 Wilson, E. 6, 15–23, 109, 140 womb 49, 62, 68–69, 96; see also mother women 3, 5, 7–9, 46–47, 60–62, 64–72, 76–77, 94–101, 107–108, 111–136, 154–155; see also feminist criticism; misogyny; rape Woolf, V. 27 wrestling 72, 79–80 Zembla 74, 76, 78–81; website 152 ˇ ˇ Zizek, S. 156, 158 176
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His nickname having come from his dog, what is Indiana Jones's real first name? | 10 Awesome Indiana Jones Facts | Mental Floss
10 Awesome Indiana Jones Facts
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Twenty-seven years after we saw the first installment of the Indiana Jones series, the fourth movie, Indiana Jones and the Kingdom of the Crystal Skull opens nationwide tomorrow. In honor of the occasion, we'll take a look at all the movies and tell you some stories you may not know about the Indy franchise.
Raiders of the Lost Ark (1981)
1. It Started with Bond Ambitions
George Lucas wrote a story called "The Adventures of Indiana Smith" in 1973. While on vacation in Hawaii in 1977, he spoke with Steven Spielberg, who mentioned he always wanted to do a James Bond film . Lucas told him the Indiana Smith character was even better than James Bond, and that's how the collaboration between the two movie giants began.
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2. Tom Selleck Almost Starred in It
Spielberg wanted to use Harrison Ford as Indiana Jones from the beginning, but Lucas rejected the idea, since he had already used Ford in American Grafitti and Star Wars. So Tom Selleck was chosen for the role. However, he dropped out to star in the television series Magnum, P.I. Selleck thought it would be a scheduling conflict, but filming on Raiders of the Lost Ark finished before Magnum went into production. Nick Nolte turned down the role also. Danny DeVito was the first choice for the character Sallah, but dropped out to do the TV show Taxi.
3. The Fourth Wall (it keeps out snakes)
Indiana Jones is not the only one afraid of snakes . When Marion (Karen Allen) falls in the snake pit, you can see the reflection of a cobra in the glass wall between them. You can also see a glass wall between Indiana and the cobra in the original movie and videotape, but it was cleaned up for the DVD release.
The Temple of Doom (1984)
4. Star Wars Tributes
There are many Star Wars touches in The Temple of Doom. The name of the nightclub in Shanghai is Club Obi Wan. The sound effect you hear when the lava pit opens as they begin to sacrifice Willie is the sound of Darth Vader opening his light saber. The sound effect of the plane failure is the same sound effect used for the Millennium Falcon when it stalls in The Empire Strikes Back. And the vest that Indy wears in his palace room was made for Han Solo.
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5. Dan Akroyd has a Cameo?
Part of the crew made cameo appearances. In the airport scene at the beginning of the movie, Steven Spielberg, George Lucas, costume design Anthony Powell, and PR man Sid Ganis are missionaries. Executive producer George Marshall is a coolie pulling a rickshaw. Dan Akroyd (not a crew member) appears as an airport official who walks the cast to the plane.
6. An Elephant Almost Ruined the Movie
The dress Kate Capshaw wore in the Shanghai nightclub scene was covered with rare vintage beads made in the '20s and '30s. The club scene was filmed last, but the dress also made an appearance during the camping scene, where an elephant began eating it! Since there were no extra beads to match, the costume department had to repair the dress as best as they could. The result was so tight that Capshaw had trouble moving in it when they filmed the nightclub scene. Costume designer Anthony Powell filled out insurance forms for the dress, citing the cause of the damage as "dress eaten by elephant". This was only the second movie for Capshaw , who has a masters degree in special education. Spielberg married Capshaw in 1991.
The Last Crusade (1989)
7. Even the Rats were Insured
The thousands of rats used in The Last Crusade were insured. The insurer wanted to know the minimum number of rats the scene could be shot with, and used the answer to write a policy with a "1,000 rat deductible." The cast was padded with another thousand mechanical rats. Their voices were enhanced with the sound effects of ....chicken voices!
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8. Lucas' Dog was his Inspiration
At the end of the movie, Jones explains to his friend Sallah that his nickname Indiana came from his pet dog from long before. Sallah responds, "You were named after a dog?" and gets a great laugh out of it. But it's true. Indiana was the name of an Alaskan malamute George Lucas owned in the '70s. The same dog inspired the look of the Star Wars character Chewbacca. Jones' real first name is Henry, which is why his father Henry Jones, Sr. calls him Junior. The characters Willie and Short Round in The Temple of Doom were also named after other people's dogs.
The Kingdom of the Crystal Skull (2008)
9. The Sequel Almost Involved Mars
Nineteen years is a long time to come up with a new title for a movie, and many were posed before producers settled on Indiana Jones and the Kingdom of the Crystal Skull. Fake titles that have been released over the years include Indiana Jones and the Staff of Moses, Indiana Jones and the Shores of Avalon, Indiana Jones and the Jade Princess,Indiana Jones and the Raiders of Time, and Indiana Jones and the Ravages of Time. Real script titles or ideas that were rejected were Indiana Jones and the Garden of Life, Indiana Jones and the Monkey King, Indiana Jones and the Saucer Men From Mars, and Indiana Jones and the Red Scare. Working titles for The Kingdom of the Crystal Skull have included Fourth Installment of the Indiana Jones Adventures, Indiana Jones 4, Indiana Jones and the City of the Gods, Raiders of the Lost Ark Sequel, and The Untitled Genre Project. It is clear that a lot of work went into the movie before they even knew what it would be about!
10. The Secret of the Film's Look
Great pains were taken to give the fourth movie the look and feel of the first three, despite the time gap. Steven Spielberg insisted on using stunt men instead of computer animation. Computer-generated effects are used only when absolutely necessary. The footage was shot on film instead of digital format. Cinematographer Janusz Kaminski painstakingly studied the first three movies in order to preserve the style of previous cinematographer Douglas Slocombe (who is now retired). The result looks, as George Lucas said , "like it was shot 3 years after the Last Crusade, you'd never know there was 20 years between shooting." Unlike a certain other George Lucas franchise we all know and love.
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Test your knowledge of the franchise with Stacy Conradt's Indiana Jones quiz .
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In a fraction, is the numerator on the top? Or the bottom? | Indiana Jones and the Last Crusade (1989) - Quotes - IMDb
Indiana Jones and the Last Crusade (1989)
Colonel Vogel : [in German] What?
[Indiana punches him, picks him up and throws him out a window into a pile of luggage; the other passengers look at him, bewildered]
Indiana Jones : [pointing out the window at Vogel] No ticket.
[the other passengers all pull out their tickets and wave them furiously at him]
Professor Henry Jones : That's his name.
[points to himself]
Professor Henry Jones : We named the *dog* Indiana.
Marcus Brody : May we go home now, please?
Sallah : You are named after the dog? HA HA HA...!
Indiana Jones : I've got a lot of fond memories of that dog.
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[Lecturing in class]
Indiana Jones : Archeology is the search for fact, not truth. If it's truth you're interested in, Dr. Tyree's Philosophy class is right down the hall. So forget any ideas you've got about lost cities, exotic travel, and digging up the world. We do not follow maps to buried treasure, and "X" never, ever marks the spot.
Indiana Jones : Ark of the Covenant.
Elsa : Are you sure?
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[Nazi Colonel Vogel is torturing Henry to get answers]
Colonel Vogel : Tell me about this miserable little diary of yours. The book is useless and yet you come all the way back to Berlin to get it. Why?
[he slaps Henry in the face with his glove]
Colonel Vogel : What are you hiding?
[he slaps him again]
Colonel Vogel : What does the diary tell you that it doesn't tell us?
[he tries to slap him again; Henry grabs his wrist, stopping him]
Professor Henry Jones : [through his teeth] It tells me, that goose-stepping morons like yourself should try *reading* books instead of *burning* them!
Professor Henry Jones : The Word of God.
Marcus Brody : No, Henry. Try not to talk.
Professor Henry Jones : The Name of God.
Indiana Jones : The Name of God... Jehovah.
Professor Henry Jones : But in the Latin alphabet, "Jehovah" begins with an "I".
[he steps on the "J" and almost falls to his death; he scrambles back up]
Indiana Jones : Oh, *idiot*! In Latin Jehovah begins with an "I"!
[talking about how they both slept with the same woman]
Indiana Jones : It's disgraceful, you're old enough to be her... her grandfather.
Professor Henry Jones : Well, I'm as human as the next man.
Indiana Jones : Dad, I *was* the next man.
Professor Henry Jones : Oh... ships that pass in the night.
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[Indiana and Henry are tied up]
Indiana Jones : Come on, dad. Help me get us out of here. We have to get to Marcus before the Nazis do.
Professor Henry Jones : But you said he had a two day head start. That he would blend in, disappear.
Indiana Jones : Are you kidding? I made all that up. You know Marcus. He once got lost in his own museum.
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Elsa : It's perfectly obvious where the pages are. He's given them to Marcus Brody.
Professor Henry Jones : Marcus? You didn't drag poor Marcus along did you? He's not up to the challenge.
Walter Donovan : He sticks out like a sore thumb. We'll find him.
Indiana Jones : The hell you will. He's got a two day head start on you, which is more than he needs. Brody's got friends in every town and village from here to the Sudan, he speaks a dozen languages, knows every local custom, he'll blend in, disappear, you'll never see him again. With any luck, he's got the grail already.
[Cut to middle of fair in the Middle East, Marcus Brody wearing bright suit and white hat, sticking out like sore thumb]
Marcus Brody : Uhhh, does anyone here speak English?
Elsa : [to Indy] I'll never forget how vonderful it vas.
Professor Henry Jones : Why thank you. It was rather wonderful.
Elsa : [kisses Indy] Zat's how Austrians say goodbye.
Colonel Vogel : Und zis is how ve zay goodbye in Germany, Dr. Jones.
[punches Indy with the head of his cane; Indy's head smacks into Henry's behind him]
Indiana Jones : I liked the Austrian way better.
Professor Henry Jones : Elsa never really believed in the grail. She thought she'd found a prize.
Indiana Jones : And what did you find, Dad?
[Vogel is holding Elsa hostage at gunpoint]
Colonel Vogel : Throw down the gun or the girl will die.
Professor Henry Jones : Don't worry. He won't.
Elsa : Indy, please do what he says!
[Elsa takes the grail diary from Indy's pocket, smiles, then hands it to Vogel]
Elsa : But you should have listened to your father.
Elsa : Don't look at me like that. We both wanted the Grail. I would have done anything to get it. You would have done the same.
Indiana Jones : I'm sorry you think so.
Indiana Jones : Dad, are we hit?
Professor Henry Jones : More or less. Son, I'm sorry. They got us.
[Indiana slips and nearly falls into the abyss, but Henry grabs his hand]
Professor Henry Jones : Junior, give me your other hand! I can't hold on!
Indiana Jones : [reaching for the Grail] I can get it. I can almost reach it, Dad...
Professor Henry Jones : The quest for the grail is not archeology, it's a race against evil. If it is captured by the Nazis the armies of darkness will march all over the face of the earth. Do you understand me?
Indiana Jones : This is an obsession, Dad. I've never understood it. Never. Neither did Mom.
Professor Henry Jones : Oh yes she did. Only too well. Unfortunately, she kept her illness from me. All I could do was mourn her.
Indiana Jones : [shouting, as the boat is being chopped up by a propeller] Why are you trying to kill us?
Kazim : Because you are looking for the Holy Grail!
Indiana Jones : My *father* was looking for the Holy Grail! Did you kill him too?
Indiana Jones : Where is he? Talk or you're dead! Dammit tell me! Tell me!
Kazim : If you don't let go Dr. Jones, we'll both die!
Indiana Jones : Then we'll die!
Kazim : My soul is prepared! How's yours?
Professor Henry Jones : I thought I'd lost you boy.
Indiana Jones : I thought you had too Sir.
Professor Henry Jones : [moves back and attempts to compose himself] Well... well done. Come on.
[Professor Henry Jones walks away and Indiana Jones collapses to the ground in exhaustion]
Professor Henry Jones : [looks back and frowns] Why are you sitting there resting when we're so near the end?
Indiana Jones : [shouts] I know, Dad!
Professor Henry Jones : This is a new experience for me.
Indiana Jones : It happens to me all the time.
Professor Henry Jones : I'm sorry about your head though. But I thought that you were one of them.
Indiana Jones : Dad, they come in through the doors.
[to Indiana, while watching a Nazi parade and book burning]
Professor Henry Jones : My son, we're pilgrims in an unholy land.
Professor Henry Jones : Genius of the res-to-ration.
[Brody finishes the handshake]
Professor Henry Jones : It's a rescue. Come on.
[the Nazis catch both Marcus and Henry]
Elsa : You came back for the book? Why?
Indiana Jones : My father didn't want it incinerated.
Elsa : [angrily] Is that what you think of me? I believe in the Grail, not the Swastika!
Indiana Jones : [angrily] You stood up to be counted with the enemies of everything the Grail stands for! Who gives a *damn* what you believe?
Elsa : [pleadingly] You do!
[Indy has untied a boat as a diversion for the Nazis]
Indiana Jones : Come on, Dad! Come on!
Professor Henry Jones : What about the boat? We're not going on the boat?
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Indiana Jones : ...who drinks the water I shall give him, says the Lord, will have a spring inside him welling up for eternal life. Let them bring me to your holy mountain in the place where you dwell. Across the desert and through the mountain to the Canyon of the Crescent Moon, to the Temple where the cup that - where the cup that holds the blood of Jesus Christ resides forever.
Indiana Jones : Are you crazy? Don't go between them!
Elsa : Go between them! Are you crazy?
Indiana Jones : [grabbing Elsa by the throat] All I have to do is squeeze.
Elsa : All I have to do is scream.
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Butler : [Answering door] Yes?
Indiana Jones : [In Scottish accent] Not before time! did you intend to leave us standing on the doorstep all day? we're drenched
[sneezes in butler's face]
Indiana Jones : Now look, I've gone and caught a sniffle
Butler : Are you expected?
Indiana Jones : Don't take that tone with me my good man! Now buttle off and tell Baron Brunwald that Lord Clarence McDonald and his lovely assistant
[Drags Elsa towards him]
Butler : Tapestries?
Indiana Jones : The old man is dense, this is a castle isn't it? there are tapestries
Butler : This is a castle and we have many tapestries, and if you are a Scottish lord then I am Mickey Mouse!
Indiana Jones : How dare he?
[punches butler in face]
Principal SS Officer at Castle : You have zuh diary in your pocket.
Professor Henry Jones : You dolt! You think my son would be that stupid? That he would bring my diary all the way back here?
[pause]
Professor Henry Jones : You didn't, did you?
[another pause]
Indiana Jones : Look, can we discuss this later?
Professor Henry Jones : I should have mailed it to the Marx Brothers!
Indiana Jones : Will you take it easy?
Professor Henry Jones : Take it easy? Why do you think I sent it home in the first place? So it wouldn't fall into their hands!
Indiana Jones : I came here to SAVE you!
Professor Henry Jones : Oh, yeah? And who's gonna come to save you, JUNIOR?
Indiana Jones : [shouts] I told you...
[grabs a gun and shoots all soldiers dead]
Indiana Jones : DON'T call me Junior!
Professor Henry Jones : Look what you did! I can't believe what you did!
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Indiana Jones : I can remeber the last time we had a drink together. I had a milkshake. but, we didn't talk, we've never talked. Only if you were a regular dad just like the other boy's dad, this would be different.
Indiana Jones : Yeah, how?
Professor Henry Jones : Did I ever tell you to eat up, go to bed, wash your ears, do your homework? No, I respected your privacy and I taught you self reliance.
Indiana Jones : What you taught me, is that I was less important to you than people that have been dead for several hundered years and in other countries, and I learned it so well, that we've hardly spoken for 20 years.
Professor Henry Jones : You left, just as you were becoming interesting.
[Closes his diary]
Professor Henry Jones : Okay, I 'm here what you wanna talk about?
Indiana Jones : [At a lost for words] I... I don't know.
Professor Henry Jones : Then, what are you complaining about? Now, he who finds the Grail must face 3 challenges. First, is the path of God: Only the penitent man shall pass. Second, is the word of God: Only in the footsteps of God, shall he proceed. Last is the breath of God: Only in a leap from the lion's head shall he prove his worth.
Panama Hat : Small world, Dr. Jones.
Indiana Jones : Too small for two of us.
Panama Hat : This is the second time I've had to reclaim my property from you.
Indiana Jones : That belongs in a museum.
Marcus Brody : Indy, Henry, follow me. I know the way. Ha!
[Marcus' horse rides off with him barely hanging onto it]
Professor Henry Jones : Got lost in his own museum, eh?
Professor Henry Jones : [Examining the broken vase] Late 14th Ming Dynasty. Oh it breaks the heart.
Indiana Jones : And the head. You hit me dad.
Professor Henry Jones : I'll never forgive myself.
Indiana Jones : Don't worry I'm all right.
Professor Henry Jones : Thank God... it's fake. See you can tell with the cross sections.
[Donovan wants Indy to get the Grail]
Walter Donovan : You could go down in history.
Indiana Jones : As what? A Nazi stooge like you?
Walter Donovan : The Nazis? Is that the limit of your vision? The Nazis want to write themselves into the Grail legend, take on the world. Well, they're welcome to it. But I want the Grail itself, the cup that gives everlasting life. Hitler can have the world, but he can't take it with him. I'm going to be drinking my own health after he's gone the way of the dodo.
Professor Henry Jones : I find, that if I just sit down to think...
[sits in chair, which tilts backward and opens up a hidden staircase]
Indiana Jones : [falling down hidden staircase] Daaaaad!
Professor Henry Jones : [resetting chair legs] The solution presents itself!
Indiana Jones : [steals a flower for Elsa] Fraulein, will you permit me?
Elsa : I usually don't.
Indiana Jones : I usually don't either.
Elsa : In that case I permit you.
Indiana Jones : It would make me very happy.
Elsa : But I am already sad, by tomorrow it will have faded.
Indiana Jones : Tomorrow I'll steal you another one.
Elsa : I knew it was you, you have your father's eyes.
Indiana Jones : And my mother's ears but the rest belongs to you.
Elsa : It looks like the best parts have already been spoken for.
Professor Henry Jones : What are you doing? Get down.
Indiana Jones : Dad, we're well out of range.
[the tanks fires on them]
Elsa : You had it? You didn't trust me?
Indiana Jones : I didn't know you. At least I let you tag along.
Elsa : Oh yes, Give them a flower and they'll follow you anywhere.
Indiana Jones : Knock it off, you're not mad.
Elsa : No?
Indiana Jones : No, you like the way I do things.
Elsa : You're lucky I don't do things the same way. You'd still be standing at the Venice Pier.
Indiana Jones : What do you think is going on here? Since I've met you I've nearly been incinerated, drowned, shot at and chopped into fish bait. We're caught in the middle of something sinister here. My guess is dad found out more than he was looking for and until I am sure I am going to continue to do things the way I think they should be done.
[Indiana Kisses Elsa]
Elsa : How dare you kiss me.
[Elsa Kisses Indiana]
Indiana Jones : Leave me alone, I don't like fast women.
Elsa : [while nibbling on Indiana's ear] And I hate arrogant men.
Indiana Jones : [after they both fall into bed, kissing] Ahh, Venice.
Indiana Jones : [Being tied up together] We gotta get free, dad. We've gotts get to Marcus before the Nazis do.
Professor Henry Jones : I thought that Marcus had a 2 day head start, and would vanish, disappear.
Indiana Jones : No. I made that up. C'mon dad, you know Marcus he got lost in one of his own museums one time. Dad, can you reach into my left pocket?
Indiana Jones : [Sarcastically] A lucky charm.
Professor Henry Jones : [Reaches into Indy's left jacket pocket] Feels like a cigarette lighter.
Indiana Jones : Use it to burn the ropes.
[Then Henry lights thew lighter and reaches back and burns himself androps the lighter to the floor, and after blowing on it a few times he starts a fire]
Professor Henry Jones : Son, there's something I have to tell you.
Indiana Jones : Don't get sentimental now dad, save until we get out.
Professor Henry Jones : The floor is in fire, and the chair.
Professor Henry Jones : It *is* you, Junior.
Indiana Jones : Don't call me that. *Please*.
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Indiana Jones : Listen. Since I've met you I've nearly been incinerated, drowned, shot at, and chopped into fish bait. We're caught in the middle of something sinister here, my guess is dad found out more than he was looking for and until I'm sure, I'm going to continue to do things the way I think they should be done.
Professor Henry Jones : You say this has been just another typical day for you huh?
Indiana Jones : NO. It's been better than most.
Marcus Brody : My reputation preceeds me.
Sallah : There is no museum in Iskenderun.
German Guide: Papers, please.
Sallah : [laughing] Papers? Of course
[to Marcus]
Sallah : Papers. Got it here. Just finished reading it myself.
[to Marcus]
Sallah : "Egyptian Mail," morning edition.
[to Marcus]
Marcus Brody : Did you say, uh...
[Sallah punches one of the German guides]
Walter Donovan : Find the man and you'll find the Grail.
Indiana Jones : You've got the wrong Jones, Mr. Donovan. Why don't you try my father?
Walter Donovan : We already have. Your father is the man who has disappeared.
Professor Henry Jones : My diary's in Berlin.
Indiana Jones : We don't need the diary, Dad. Marcus has the map.
Professor Henry Jones : There is more in the diary than just the map.
Indiana Jones : Half the German army's on our tail and you want me to go to Berlin? Into the lion's den?
Professor Henry Jones : Yes. The only thing that matters is the Grail.
Walter Donovan : As you can now see, Dr. Jones, we are on the verge of completing a quest that began almost two thousand years ago. We're just one step away.
Indiana Jones : That's usually when the ground falls out from underneath your feet.
Walter Donovan : [points a gun at Indy] The Grail is mine. And you're going to get it for me.
Indiana Jones : Shooting me won't get you anywhere.
Walter Donovan : You know something, Dr. Jones? You're absolutely right.
[He shoots Henry in the stomach]
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Elsa : [meeting Indy and Marcus in Venice] The last time I saw your father we were in the library. He was very close to tracking down the Knight's tomb. I've never seen him so excited. He was as giddy as a schoolboy.
Indiana Jones : Who, Atilla The Professor? He was never giddy, even when he was a schoolboy.
[Elsa has helped Vogal capture Indy and his father]
Indiana Jones : She ransacked her own room, and I fell for it!
Indiana Jones : Well, we made it!
Professor Henry Jones : [looking out from behind his newspaper] When we are airborne, with Germany behind us, *then* I will share that sentiment!
[Indy and his father have stolen a plane from the airship, and are now being chased by German fighters]
Indiana Jones : Dad, you're going to have to use the machine gun. Get it ready!
[Henry turns around and gets the gun ready]
Indiana Jones : [spotting an approaching fighter] 11 o'clock! Dad, 11 o'clock!
Professor Henry Jones : [looking at his watch] What happens at 11 o'clock?
Fedora : You got heart, kid.
[about the cross]
Young Indy : It belongs to Coronado.
Fedora : Coronado's dead, and so are all of his grandchildren!
Young Indy : This should be in a museum!
[Elsa picks up the Grail and attempts to leave the Temple with it]
Elsa : We have got it, come on!
Indiana Jones : Elsa. Elsa don't move.
Elsa : It's ours Indy, yours and mine.
Indiana Jones : Elsa don't cross the seal. The knight warned us not to take the grail from here!
[Elsa ignores Indiana and her bootheel steps across the Great Seal, triggering the temple's collapse]
[Elsa wrenches her left hand free to reach the grail]
Indiana Jones : Elsa. Don't Elsa. Elsa. Give me your other hand honey, I can't hold you!
Elsa : I can reach it... I can reach it...
[the glove on her hand starts slipping]
Indiana Jones : Elsa. Give me your hand, give me your other hand!
[Elsa cries out as she nearly touches the grail. The glove suddenly slips off her hand and she plunges into the abyss]
Elsa : You don't disappoint, Dr. Jones. You're a great deal like your father.
Indiana Jones : Except he's lost and I'm not.
Professor Henry Jones : [after escaping from the Nazis, and coming onto a road sign] Stop, wait, stop! Stop! You're going the wrong way. We have to get to Berlin.
Indiana Jones : [Points to the sign] Brody's *this* way.
Professor Henry Jones : My diary's in Berlin.
Indiana Jones : [cross] We don't need the diary, dad; Marcus has the map.
Professor Henry Jones : There is more in the diary than *just the map*.
Indiana Jones : [stops the motorcycle, annoyed] All right, Dad. Tell me.
Professor Henry Jones : Well, he who finds the Grail must face the final challenge.
Indiana Jones : Booby traps?
Professor Henry Jones : Oh, yes. But I found the clues that will safely take us through them in the Chronicles of St. Anselm.
Indiana Jones : [pleased] Well, what are they?
[annoyed]
Indiana Jones : Can't you remember?
Professor Henry Jones : I wrote them down in my diary so that I wouldn't *have* to remember.
Indiana Jones : [angry] Half the German Army's on our tail and you want me to go to Berlin? Into the lion's den?
Professor Henry Jones : Yes! The only thing that matters is the Grail.
Professor Henry Jones : Marcus would agree with me!
Indiana Jones : [quietly] Two selfless martyrs; Jesus Christ.
Professor Henry Jones : [slaps Indy, angrily] That was for blasphemy! The quest for the Grail is not archaeology; it's a race against evil! If it is captured by the Nazis, the armies of darkness will march all over the face of the Earth! Do you understand me?
Indiana Jones : [Still annoyed] This is an obsession, dad. I *never* understood it. Never. Neither did mom.
Professor Henry Jones : Oh, yes she did. Just all too well. But, she kept her illness from me. All I could do was mourn her.
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For what purpose would someone wear a ghillie suit? | Rothco Lightweight All Purpose Ghillie Suit
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Mary Josephine Ray, the oldest person in the United States, died Monday, a mere 71 days short of reaching what age? | Camouflage - Kid's Lightweight All Purpose Hunting Ghillie Suit - Army Navy Store
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According to Greek mythology, Urania was the muse of what? | Urania ***
Information about Urania, the Muse of Astronomy
Urania was one of the young, beautiful maidens referred to as the Nine Muses. The nine Muses were the daughters of Zeus, the king of the gods, and Mnemosyne, the goddess of memory. The names of the nine Muses were Clio, Thalia, Erato, Euterpe, Polyhymnia, Calliope, Terpsichore, Urania and Melpomene. Urania and her sisters were believed to reside above the golden clouds that covered sacred the Greek mountain peaks above the summits of Mounts Olympus, Helicon, Parnassus, and Pindus. They entertained and joined the Olympian gods in their feasts drinking water, milk, and honey, but never wine. The sisters were originally the patron goddesses of poets and musicians but over time their roles extended to include comedy, tragedy, history, poetry, music, dancing, singing, rhetoric, sacred hymns, and harmony. Urania was the Muse of Astronomy.
Picture of the Nine Muses
Urania, the Muse of Astronomy
According to the traditions and beliefs of the Ancient Greeks astronomers would invoke the aid of Urania was the Muse of Astronomy to guide and assist him in his work. The invocation took the form of a prayer for divine inspiration from the goddess. Many of the ideas of Ancient Greek astronomy were based upon theology and astronomers were also philosophers. The Ancient Greeks were concerned with what was happening and when, without addressing the reasons, other than vague attributions to the gods. Many of their energies were spent on predicting events like eclipses. Pythagoras (c.580�500 B.C.) is credited with proposing the idea of a spherical Earth and Moon and Aristotle believed that the Sun moved around Earth. Another ancient Greek astronomer, and the first notable Greek philosopher, was Thales, who lived at the beginning of the 6th Century BC and was credited with inventing trigonometry. Fabulae and the Poetica Astronomica were written by Hyginus. Astronomy was possibly written by Hesiod. The symbols of Urania are the globe and the compass and she is often depicted with stars and staring at the Heavens.
Facts and pictures of Urania, the Muse of Astronomy
The following fact file contains pictures of this Greek goddess and Muse and details her symbols and attributes.
Facts, Pictures and Symbols of Urania
Facts about Urania
Urania was the Muse who represented and was the patron of Astronomy and the constellations
She was the daughter of Zeus and Mnemosyne
She was the philosophical Muse
She possessed the gift of prophecy by reading the stars
Her name derives from the Greek word for 'heavenly'
She was the youngest Muse
Her symbols are the globe and the compass and she is usually depicted with in a cloak embroidered with stars, staring at the Heavens
The alternative spelling of her name is Ourania
Picture of Urania
Facts, Pictures and Symbols of Urania
Astrology - The Asteroid Muse
In Astrology there are nine asteroids named after each of the nine Greek muses. Urania is a large main belt asteroid that was discovered by J. R. Hind on July 22, 1854 in London, it was named after the Greek Muse of astronomy.
Urania in Greek Mythology
The muse and goddess Urania was not only gifted as an inspiration of Astronomy but, like all nymphs possessed the gift of prophecy. The mountain spring on Mount Parnassus was sacred to Urania and the other Muses. The mountain spring flowed between two high rocks above the city of Delphi, and in ancient times its sacred waters were introduced into a square stone basin, where they were retained for the use of the Pythia, the priests, priestesses and the oracle of Apollo.
Apollo and the Nine Muses
The Powers of Urania and the Muses
Although the Muses were generally believed to be a source of inspiration and of help to mortals they were also vain and arrogant and severely resented any mortals who questioned their supremacy in the arts. The powers of Urania and her sisters were considerable. As goddesses, they were immortal and any mortals that were blessed by the Muses, could use the beauty of their song, or the grace of their dance, to heal the sick and provide comfort to the heartbroken. They also possessed the magical power of transformation and in one of the ancient myths nine sisters referred to as the Pierides challenged Urania and the other Muses to a contest. The Muses won and then turned the Pierides into chattering birds.
Urania the Muse
Facts about the Muse of Astronomy
Images and Pictures
Educational resource for schools, kids and children
Facts and information about the ancient Greek Goddess and Muse for schools and kids
Urania, the Muse of Astronomy
Pictures and Fact File
| Astronomy |
What tuna brand uses a cartoon mascot known as Charlie the Tuna to advertise their product? | The Muses of Greek Mythology
The Muses of Greek Mythology
Home > Greek Culture > Greek Mythology > The Muses of Greek…
Written by GreekBoston.com in Greek Mythology Comments Off on The Muses of Greek Mythology
According to Greek Mythology, artists have a Muse who whispers inspiration into their ears. Without the Muse, the artist wouldn’t be able to create. The Muse is said to help writers, musicians, painters, sculptors, and other creative people. Without the Muse, inspiration wouldn’t exist.
Today, we think of the “Muse” as simply a synonym for “inspiration”. To the Ancient Greeks, however, it was much more than that. The Muses were the goddesses of inspiration for the arts, sciences, and literature. There is some debate how many muses there really were.
Origin of the Muses
The Muses were the daughters of Zeus, the King of the Gods, and Mnemosyne, the Titan goddess of memory. Zeus tricked Mnemosyne by disguising himself as a shepherd. In one version, they lay together for nine nights. Each night, a different Muse was conceived. In some versions, there were only three Muses.
In this instance, Mnemosyne and Zeus were together only three nights. According to the poetry of Sappho, there was a tenth Muse. Historians argue as to why there was such a variation in the number of Muses.
Who They Were
Each Muse represented different aspects of intellect, thought, and creativity. They were also associated with a certain tool. Here is an overview of who they were and what they represented, according to Hesiod.
Calliope was the Muse who represented epic poetry. Her implement was the writing tablet.
Clio was the Muse who had to do with history and she was always associated with holding a scroll.
Euterpe was the Muse of lyrical poetry and music, and is always shown with an aulos (flute).
Thalia represented both comedy and pastoral poetry and she was associated with the comic mask.
Melpomene was the Muse of tragedy and her item was the tragic mask.
Terpsichore was the Muse of dance and she was always associated with the lyre.
Erato was always associated with love poetry. She had a type of lyre called the cithara.
Polyhymnia represented sacred poetry and she was always depicted with a veil.
Urania was the Muse of astronomy and she had a globe and compass.
In the versions where only three Muses existed, these were Melete, who represented “practice”, Mneme, who represented “memory”, and Aoide, who was the Muse of “song”. However, the most accepted version is that there were Nine Muses with each representing a specific discipline.
The Muses were also worshiped extensively, especially in areas where art and intellect were highly valued, such as at the library at Alexandria.
Legacy of the Muses
The Muses were often mentioned in poetry and literature. Homer, Dante, Virgil, Catullus, Chaucer, Milton and Shakespeare all mention them in their literary works. As you can see, unlike other gods and goddesses, the legacy of the Muses is still felt today.
Artists and writers alike often see the source of their art as being divinely inspired. Today, the word “muse” either means “to ponder” or it refers to “someone who creates poetry”. One thing is certain; Wherever there is creativity and art, there will always be those who create it, regardless of whether or not they believe the Muses are real.
This post was written by GreekBoston.com
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In chess, what piece is limited only to diagonal moves? | Diagonal Chess
Diagonal Chess
This page is written by the game's inventor, David Howe .
Diagonal Chess
David Howe invented in 1997 a diagonal chess variant. The idea to turn the board 45 degrees is not new: see e.g., Minotaur Chess . Diagonal chess can be played with a normal set of chess pieces and board. Below, you read the description of David Howe of his game.
Description
The board is set up as pictured below. Players should sit at opposing corners of the board, so that the board is situated diagonally between them. Forward movement is diagonal.
+---+---+---+---+---+---+---+---+ - | |...| |.p.| r |.n.| n |.k.| 8 +---+---+---+---+---+---+---+---+ - |...| |...| |.p.| p |.q.| b | 7 +---+---+---+---+---+---+---+---+ - | |...| |...| |.p.| p |.b.| 6 +---+---+---+---+---+---+---+---+ - |.P.| |...| |...| |.p.| r | 5 +---+---+---+---+---+---+---+---+ - | R |.P.| |...| |...| |.p.| 4 +---+---+---+---+---+---+---+---+ - |.B.| P |.P.| |...| |...| | 3 +---+---+---+---+---+---+---+---+ - | B |.Q.| P |.P.| |...| |...| 2 +---+---+---+---+---+---+---+---+ - |.K.| N |.N.| R |.P.| |...| | 1 +---+---+---+---+---+---+---+---+ - a b c d e f g h -
Initial board layout (text)
(visualize it tilted 45 degrees)
Initial board layout (graphical)
The rules of normal chess apply unless otherwise noted.
Pawns move forward diagonally, and capture horizontally and vertically (see diagram below).
Pawns do not have an initial two square move.
Castling is not allowed.
Knights move as in normal chess, except diagonally (see diagram below).
Pawn promotion. A white pawn that reaches a8, g8, h7 or h1 may promote to a Queen (or less). A white pawn that reaches b8, f8, h6 or h2 may promote to a Rook (or less). A white pawn that reaches c8, e8, h5 or h3 may promote to a Bishop or Knight. A white pawn that reaches d8 or h4 may only promote to a Knight. If a white pawn reaches h8 (on a legal move) then white wins the game. Similar rules apply for black. See the following diagram. Note, a player may still win by checkmating.
Q R B N B R Q * - +---+---+---+---+---+---+---+---+ - | |...| $ |...| |...| |.k.| 8 +---+---+---+---+---+---+---+---+ - |...| |...| |...| N |...| | Q 7 +---+---+---+---+---+---+---+---+ - | |...| $ |...| |...| |...| R 6 +---+---+---+---+---+---+---+---+ - |...| |...| |...| |...| | B 5 +---+---+---+---+---+---+---+---+ - | |...| |...| $ |...| $ |...| N 4 +---+---+---+---+---+---+---+---+ - |...| |...| x |.*.| |...| | B 3 +---+---+---+-|-/---+---+---+---+ - | |...| |.P-- x |...| |...| R 2 +---+---+---+---+---+---+---+---+ - |.K.| |...| |...| |...| | Q 1 +---+---+---+---+---+---+---+---+ - a b c d e f g h -
The white pawn on d2 may capture on d3 or e2, or may move to e3. The white knight on f7 may move to any of the $ squares. Promotion squares for white are indicated on edge of board.
Pawn and Knight moves / Promotion squares
Notes
A design limitation of this game was to be able to use a normal chess baord and pieces, with no extra equipment.
A Knight is limited to moving to either light or dark squares. This decreases the value of the Knight.
Both Knight promotion squares are the same color. Not a big problem, but aesthetically unpleasing.
Only seven pawns used. Would be nice to find a use for the eighth pawn.
Written by David Howe.
WWW page created: April 24, 1997.
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This site is supported by advertising and by donations. You can help out by making a small donation or by using this site's affiliate links when you shop at ebay.com , Amazon.com , or the House of Staunton .
| Bishop |
Which US President, the 14th, is remembered both for his heavy drinking and the Kansas-Nebraska Act of 1854 with both created those territories and repealed that abomination known as the Missouri Compromise? | How to Play Chess: Rules and Basics - Chess.com
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Learn to Play Chess
It's never too late to learn how to play chess - the most popular game in the world! If you are totally new to the game or even want to learn all of the rules and strategies, read on!
Getting Better at Chess
History of Chess
The origins of chess are not exactly clear, though most believe it evolved from earlier chess-like games played in India almost two thousand years ago.The game of chess we know today has been around since the 15th century where it became popular in Europe.
The Goal of Chess
Chess is a game played between two opponents on opposite sides of a board containing 64 squares of alternating colors. Each player has 16 pieces: 1 king, 1 queen, 2 rooks, 2 bishops, 2 knights, and 8 pawns. The goal of the game is to checkmate the other king. Checkmate happens when the king is in a position to be captured (in check) and cannot escape from capture.
Starting a Game
At the beginning of the game the chessboard is laid out so that each player has the white (or light) color square in the bottom right-hand side. The chess pieces are then arranged the same way each time. The second row (or rank) is filled with pawns. The rooks go in the corners, then the knights next to them, followed by the bishops, and finally the queen, who always goes on her own matching color (white queen on white, black queen on black), and the king on the remaining square.
The player with the white pieces always moves first. Therefore, players generally decide who will get to be white by chance or luck such as flipping a coin or having one player guess the color of the hidden pawn in the other player's hand. White then makes a move, followed by black, then white again, then black and so on until the end of the game.
How the Pieces Move
Each of the 6 different kinds of pieces moves differently. Pieces cannot move through other pieces (though the knight can jump over other pieces), and can never move onto a square with one of their own pieces. However, they can be moved to take the place of an opponent's piece which is then captured. Pieces are generally moved into positions where they can capture other pieces (by landing on their square and then replacing them), defend their own pieces in case of capture, or control important squares in the game.
The King
The king is the most important piece, but is one of the weakest. The king can only move one square in any direction - up, down, to the sides, and diagonally. Click on the '>' button in the diagram below to see how the king can move around the board. The king may never move himself into check (where he could be captured).
The Queen
The queen is the most powerful piece. She can move in any one straight direction - forward, backward, sideways, or diagonally - as far as possible as long as she does not move through any of her own pieces. And, like with all pieces, if the queen captures an opponent's piece her move is over. Click through the diagram below to see how the queens move. Notice how the white queen captures the black queen and then the black king is forced to move.
The Rook
The rook may move as far as it wants, but only forward, backward, and to the sides. The rooks are particularly powerful pieces when they are protecting each other and working together!
The Bishop
The bishop may move as far as it wants, but only diagonally. Each bishop starts on one color (light or dark) and must always stay on that color. Bishops work well together because they cover up each other’s weaknesses.
The Knight
Knights move in a very different way from the other pieces – going two squares in one direction, and then one more move at a 90 degree angle, just like the shape of an “L”. Knights are also the only pieces that can move over other pieces.
The Pawn
Pawns are unusual because they move and capture in different ways: they move forward, but capture diagonally. Pawns can only move forward one square at a time, except for their very first move where they can move forward two squares. Pawns can only capture one square diagonally in front of them. They can never move or capture backwards. If there is another piece directly in front of a pawn he cannot move past or capture that piece.
Promotion
Pawns have another special ability and that is that if a pawn reaches the other side of the board it can become any other chess piece (called promotion). A pawn may be promoted to any piece. [NOTE: A common misconception is that pawns may only be exchanged for a piece that has been captured. That is NOT true.] A pawn is usually promoted to a queen. Only pawns may be promoted.
En Passant
The last rule about pawns is called “en passant,” which is French for “in passing”. If a pawn moves out two squares on its first move, and by doing so lands to the side of an opponent’s pawn (effectively jumping past the other pawn’s ability to capture it), that other pawn has the option of capturing the first pawn as it passes by. This special move must be done immediately after the first pawn has moved past, otherwise the option to capture it is no longer available. Click through the example below to better understand this odd, but important rule.
Castling
One other special rule is called castling. This move allows you to do two important things all in one move: get your king to safety (hopefully), and get your rook out of the corner and into the game. On a player’s turn he may move his king two squares over to one side and then move the rook from that side’s corner to right next to the king on the opposite side. (See the example below.) However, in order to castle, the following conditions must be met:
it must be that king’s very first move
it must be that rook’s very first move
there cannot be any pieces between the king and rook to move
the king may not be in check or pass through check
Notice that when you castle one direction the king is closer to the side of the board. That is called castling kingside. Castling to the other side, through where the queen sat, is called castling queenside. Regardless of which side, the king always moves only two squares when castling.
Check & Checkmate
As stated before, the purpose of the game is to checkmate the opponent’s king. This happens when the king is put into check and cannot get out of check. There are only three ways a king can get out of check: move out of the way (though he cannot castle!), block the check with another piece, or capture the piece threatening the king. If a king cannot escape checkmate then the game is over. Customarily the king is not captured or removed from the board, the game is simply declared over.
Draws
Occasionally chess games do not end with a winner, but with a draw. There are 5 reasons why a chess game may end in a draw:
The position reaches a stalemate where it is one player’s turn to move, but his king is NOT in check and yet he does not have another legal move
The players may simply agree to a draw and stop playing
There are not enough pieces on the board to force a checkmate (example: a king and a bishop vs.a king)
A player declares a draw if the same exact position is repeated three times (though not necessarily three times in a row)
Fifty consecutive moves have been played where neither player has moved a pawn or captured a piece
Chess 960
Chess960 follows all the rules of standard chess, except for the starting position of pieces on the back rank, which are placed randomly in one of 960 possible positions. Castling is done just like in standard chess, with the King and Rook landing on their normal castled squares (g1 and f1, or c1 and d1). 960 plays just like standard chess, but with more variety in the opening.
Some Tournament Rules
Many tournaments follow a set of common, similar rules. These rules do not necessarily apply to play at home or online
Touch-move
If a player touches one of their own pieces they must move that piece as long as it is a legal move. If a player touches an opponent’s piece, they must capture that piece. A player who wishes to touch a piece only to adjust it on the board must first announce the intention, usually by saying “adjust”.
Introduction to Clocks and Timers
Most tournaments use timers to regulate the time spent on each game, not on each move. Each player gets the same amount of time to use for their entire game and can decide how to spend that time. Once a player makes a move they then touch a button or hit a lever to start the opponent’s clock. If a player runs out of time and the opponent calls the time, then the player who ran out of time loses the game (unless the opponent does not have enough pieces to checkmate, in which case it is a draw).
Basic Strategy
There are four simple things that every chess player should know:
#1 Protect your king
Get your king to the corner of the board where he is usually safer. Don’t put off castling. You should usually castle as quickly as possible. Remember, it doesn’t matter how close you are to checkmating your opponent if your own king is checkmated first!
#2 Don’t give pieces away
Don’t carelessly lose your pieces! Each piece is valuable and you can’t win a game without pieces to checkmate. There is an easy system that most players use to keep track of the relative value of each chess piece:
A pawn is worth 1
A knight is worth 3
A bishop is worth 3
A rook is worth 5
A queen is worth 9
The king is infinitely valuable
At the end of the game these points don’t mean anything – it is simply a system you can use to make decisions while playing, helping you know when to capture, exchange, or make other moves.
#3 Control the center
You should try and control the center of the board with your pieces and pawns. If you control the center, you will have more room to move your pieces and will make it harder for your opponent to find good squares for his pieces. In the example above white makes good moves to control the center while black plays bad moves.
#4 Use all of your pieces
In the example above white got all of his pieces in the game! Your pieces don’t do any good when they are sitting back on the first row. Try and develop all of your pieces so that you have more to use when you attack the king. Using one or two pieces to attack will not work against any decent opponent.
Getting Better at Chess
Knowing the rules and basic strategies is only the beginning - there is so much to learn in chess that you can never learn it all in a lifetime! To improve you need to do three things:
#1 – Play
Just keep playing! Play as much as possible. You should learn from each game – those you win and those you lose.
#2 – Study
If you really want to improve quickly then pick up a recommended chess book. There are many resources on Chess.com to help you study and improve.
#3 - Have fun
Don’t get discouraged if you don’t win all of your games right away. Everyone loses – even world champions. As long as you continue to have fun and learn from the games you lose then you can enjoy chess forever!
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Saturday marked the start of the Iditarod dogsled race. In what Alaska city does the race start? | 5 Surprising Facts About the Iditarod Dog Sled Race
5 Surprising Facts About the Iditarod Dog Sled Race
Poodles can't compete, for one.
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Musher Nathan Schroeder and his team head down the Iditarod Trail in Willow, Alaska, on March 2, 2014.
PHOTOGRAPH BY BOB HALLINEN, ANCHORAGE DAILY NEWS, AP
Sixty-nine dogsledders are mushing across the Alaska wilderness in hopes of becoming top dog in the 42nd annual Iditarod Trail Sled Dog Race .
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Since 1973, hundreds of competitors have come from all over the world to make the 1,150-mile (1,850-kilometer) journey from Anchorage to Nome. Usually, between 60 and 100 teams participate in the event. Each team must start with 16 dogs and finish with at least six. ( Read what it takes to compete in the Iditarod .)
National Geographic talked to Diane Johnson , the Iditarod's director of education, to learn more about the so-called last great race.
1. Iditarod is a city, a river, a trail, and a race.
Iditarod means "distant" or "distant place" in the languages of Ingalik and Holikachu, which are spoken by indigenous Athabaskan peoples of northwestern Alaska. It's also the name of a city, a river, and a trail in the same area.
A relic from Alaska's gold-mining era, the abandoned city of Iditarod is located along the Iditarod River (map) and considered the halfway point on the southern route of the dogsled race.
Back in the gold rush days, the only way to deliver mail to Iditarod was to drive a dogsled along the Iditarod Trail . But after World War II, Alaska transportation began to change in favor of faster methods of travel such as snowmobiles and airplanes.
"By the 1970s, the dogsled tradition had nearly disappeared," said Johnson.
Iditarod race founder and musher Joe Redington, Sr., created the long-distance race named after the trail to keep Alaska dogsledding alive and to help the Iditarod Trail become recognized as a historic trail.
2. The starting line can change.
Unseasonably warm weather can move the starting line of the Iditarod race—known as the restart location—if the trail begins to melt.
In 2003, when the trail near Willow was impassable due to deteriorating conditions, the race was moved to Fairbanks, a city 359 miles (578 kilometers) north of Anchorage.
Organizers considered moving it to colder Fairbanks again this year, but decided that trail conditions were safe for the racers.
3. Chihuahuas need not apply.
Only northern dog breeds like Siberian huskies and Alaskan malamutes are allowed to race in the Iditarod. The rule was adopted in the early 1990s after musher John Suter entered the 1988 competition with standard European poodles on his dogsled team. However, many of the poodles were dropped off at checkpoints due to frozen feet and hair-matting problems.
"Most of our pet dogs don't have the right undercoat to travel in the Alaskan conditions during the winter," Johnson said. ( Take National Geographic's dog quiz .)
Some mushers disagree with the decision to allow only northern breed dogs, but the organization insists the rule is to protect dogs that aren't suited for cold-weather racing.
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| Willow |
According to the nursery rhyme, what did Little Jack Horner pull from his pie? | Iditarod Sled Dog Race | Nome, Alaska
Iditarod Sled Dog Race
NEW! 2016 Iditarod Events Calendar
Every year in March, Nome hosts the finish of one of the toughest sled dog races in the world. The Iditarod Trail Sled Dog Race is a 1,049 mile trek through some of the most extreme wilderness in the nation. The first Iditarod race was held in 1973 and has been extremely popular ever since. During the finish of the race Nome’s population grows by approximately 1,000 people and turns Nome into what people everywhere warmly refer to as the “Mardi Gras of the North”. With hundreds of events to participate in and the ability to rub elbows with some of the most notorious names in the dog mushing industry, the finish of the Iditarod Trail Sled Dog Race in Nome is an event not to be missed.
Frequently Asked Questions:
1. When does the race start? The ceremonial start begins in Anchorage on the first Saturday in March. The restart begins the next day in Willow.
2. When does the first musher cross the finish line in Nome? Usually nine to ten days after the restart. This can vary depending on weather and trail conditions.
3. Which route will the race run this year? The northern route is run on even years, and the southern route is run on odd years.
4. How do I purchase an AWARDS BANQUET TICKET? Tickets are sold only after the first musher crosses the finish line. After that time, you may purchase tickets at the Iditarod Headquarters at the Mini Convention Center. Tickets may not be reserved in advance.
5. When is the finish line “Burled Arch” erected on Front Street? The first Sunday before the first musher is scheduled to arrive.
6. All of the accommodations are already booked! Where can I stay? During the Iditarod, several Nome residents rent out bedrooms or even couch space in their private residence. The Nome Visitors Center maintains a list of renters through an Iditarod Overflow Housing Program .
7. Are there any special events going on during the sled dog race? Absolutely! Many local groups and businesses have events going on, and a list of these will be available soon. You will be able to find a link to them in our Events Calendar page. There are also businesses that offer Iditarod related Tours !
8. How can I become a volunteer during the Iditarod? Click HERE to go to the Volunteer Page of the Iditarod website. This page lists the types of volunteer positions that are available, and you will also find the names and e-mail addresses of many of the volunteer coordinators.
9. Can I fly to Russia from Nome? Nome based Bering Air offers charter flights to Russia, but you may be required to obtain certain documents prior to one of these flights. Bering Air has a Russian Travel page in their website.
10. How far is it to…? Check out our Distance Chart to see approximate distances to many of the facilities that are used by visitors during the Iditarod!
For more information on the Iditarod Trail Sled Dog Race go to www.iditarod.com.
HOUSING DURING THE IDITAROD: The finish of the Iditarod Trail Sled Dog Race is a very popular event; therefore, hotels and B&B’s tend to book up very early, some possibly a year in advance! If you are unable to find a room, the Nome Convention and Visitors Bureau may be able to help. Each year, several Nome residents will open their private homes to people in need of a place to stay during the Iditarod, and the Visitors Center maintains a list of these individuals. Some residents may rent an entire apartment or home, and some may rent couch or floor space. If you are unable to secure a room in a hotel or B&B, and would like to be put on a wait list for a room in someone’s private home, please call the Visitors Center at (907) 443-6555, or send an e-mail to [email protected] . Visitors Center staff cannot guarantee being able to place you in a room, but they will do the best they can!
When calling or e-mailing the Visitors Center to be placed on the wait list, please include all of the following: 1. Your Name. 2. Total number of people in your party. 3. Dates of arrival and departure. 4. Any special needs you may have. 5. Daytime telephone number. 6. E-mail address.
Local residents rent out rooms to visitors as a courtesy to enable as many people as possible the opportunity to witness the Last Great Race. If you make arrangements to stay in someone’s home, and you need to cancel, please let your host know so they can rent their room to someone else.
TOUR GUIDES
*Nome Chamber of Commerce Member.
*NOME DISCOVERY TOURS Call for reservations: 907-304-1453 or 907-443-2814
Join Richard “Hello Central” Beneville in a heated van for an excursion around Nome to learn about the history of the Iditarod and historic Nome!
*WILD ALASKA TRAVEL 1115 D Street, Juneau, AK 99801
855-294-5325
If you are looking for an amazing and authentic adventure in Nome, our 9-day Iditarod Finish & Northern Lights Tour package is the Superbowl for Iditarod fans!
*SKY TREKKING ALASKA 485 W. Pioneer Dr. Wasilla AK 99654
907-315-6098
Private guided air & land tours to see and experience the Iditarod Sled Dog Race from Anchorage to Nome. A wide variety of “super cool” day trips and charters are available from Nome. Join us for Mardi-Gras with the dogs!
DISTANCE CHART
Unless specified, distances to the places listed below are measured from the Nome Visitors Center. The Nome Visitors Center is located at 301 Front St., in downtown Nome, directly across from City Hall. Distances are approximate. As you can see, many of the distances are listed in tenths of a mile; therefore, many of the places in Nome are within walking distance!
AIRPORT
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What is the westernmost of the Canadian provinces? | The Canadian Encyclopedia
Saskatchewan (Province)
Saskatchewan is part of the Prairie region and is the only province with entirely artificial boundaries. It is bordered by the US to the south, the Northwest Territories to the north, and Manitoba and Alberta to the east and west respectively.
Manitoba
Manitoba is a Canadian province located at the centre of the country, bounded by Saskatchewan to the west, Hudson Bay and Ontario to the east, Nunavut to the north, and North Dakota and Minnesota to the south. The province was founded on parts of the traditional territories of the Assiniboine, Dakota, Cree, Dene, Anishinaabeg and Oji-Cree peoples, and on the homeland of the Métis Nation. The land is now governed Treaties 1, 2, 3, 4, 5, 6 and 10. As of the 2011 census, Manitoba had 1,208,268 residents, making it the fifth most populous province or territory in Canada. Manitoba joined Confederation in 1870, and its capital city, Winnipeg, was incorporated shortly thereafter, in 1873. Brian Pallister is the province’s current premier, leading a majority Progressive Conservative government.
Gold, Greed and a Group of Rascals
For one brief historical moment in 1858, the most important spot in British Columbia was a gravel bed in the Fraser River about two kilometres south of Yale. It was only 45 metres long when the river was low (and invisible when the water rose). It was called Hill's Bar.
Far Out on the Left Coast
On September 3, 1962, Prime Minister John Diefenbaker arrived at Rogers Pass to preside at the official opening of the Trans-Canada Highway. This section of pavement through British Columbia's Selkirk Mountains was the final stretch of the highway to be built.
| British Columbia |
What state, known as The Mother of Presidents, was the 10th state to join the Union, on June 25, 1788? | British Columbia – Canada’s Western-Most Province
Home > Canadian Prairies > British Columbia – Canada’s Western-Most Province
British Columbia – Canada’s Western-Most Province
While it has in the past been customary to think and speak of British Columbia as a mountainous country, it is as well to bear in mind that since railway communication has been established the various resources of this western-most Province of Canada have been developed to a remarkable extent, and that when the projected railway extensions are completed, the country will occupy an even more prominent place in the public eye than it does at present. Its coast line on the Northern Pacific gives it a position of great commercial strategic importance.
This Province, lying between the western prairie country and the Pacific Ocean, is the largest of the great divisions which make up the Dominion of Canada, its area being variously estimated at from 372,630 to 395,610 square miles. From north to south it extends some seven hundred miles, and it has an average width of about four hundred miles. Vancouver Island, the largest of the archipelago of islands lying off the coast, is 285 miles long and from 40 to 80 miles wide, covering an area of about 20,000 square miles.
In a Province of such vast extent it will be readily understood that the climatic conditions are of a varied character, but taken as a whole the climate of the Province presents all the conditions met with in European countries lying within the temperate zone. Dr. Macoun, of the Dominion Geological Survey, has stated that British Columbia possesses a climate superior to that of England in every respect, both as regards heat and moisture. Along the Pacific littoral the rainfall is heavy as the result of the moisture-laden winds from the Pacific. Throughout the great inland plateau a much drier climate prevails, while in the northern interior the winter climate is more severe. In Vancouver Island and along the southern coast the climate corresponds very closely with that of England, and severe frost scarcely ever occurs in winter.
The mining industry, by which the :province is perhaps best known outside its borders, may be fairly said to be only in its infancy, although the mines have already produced over three hundred million dollars. Gold has been found since 1862, and silver, lead, iron, copper and other minerals are also found in abundance, and the well-known coal areas of Vancouver Island are, of course, of outstanding value.
In timber the province of British Columbia is especially rich and the output of lumber is increasing rapidly. Apart from the Douglas fir, which attains immense proportions, especially in the coast regions, there are many other growths of great commercial value such as the hemlock, cypress, white spruce, red cedar, white pine, tamarac, balsam, yew, maple, cotton wood, etc. Great developments are certain to take place in the manufacture of wood pulp and paper, for the conditions will be favourable not only as regards the availability of raw material and power for the factories, but transportation facilities are rapidly improving.
The fisheries of British Columbia, while important, are still in a comparatively undeveloped state, although more attention is being drawn to their potentialities, and great developments will undoubtedly take place in the near future in connection with the deep sea fisheries. The remarkable salmon fisheries are well known, and are dealt with at length in another chapter.
It is only in comparatively recent times that British Columbia has been looked upon as being in any sense a country suitable for settlement from an agricultural point of view, and although, compared with other Provinces of the Dominion, the area available might seem limited, yet it is now better understood than formerly that it has rich assets in its arable and pastoral lands. Those who know the province will resent the statement that it is a ” sea of mountains,” notwithstanding that a stranger who keeps to the present main railway line may be quite prepared to endorse it. Its beautiful valleys are becoming better known, and their fertility ascertained beyond question. Large numbers of settlers are profitably engaged in mixed farming and fruit-growing, and the extent of the lands available for further cultivation, is considerable. Dairying and poultry-raising are found to pay well, and apart from the excellent markets in the cities and towns, the opening up of new mines and establishment of new industries provide splendid markets for such products. As regards opportunities for the extension of fruit-growing, it has been estimated that there are at least a million acres south of the 52nd degree where all the fruits of the temperate zone can be produced. Ten years ago there was not enough fruit grown to supply the local markets, but the industry is growing steadily, and is likely to become one of the most important in the Province. The subject has attracted much attention in Great Britain in recent years owing to the steps which have been taken to display the produce of the British Columbia orchards, and many prizes have been awarded to the official exhibits at the Royal Horticultural Society’s shows and in the provinces since the annual displays were commenced in 1905. Besides apples, peaches and grapes are successfully grown, and more attention is being given to their cultivation as new areas suitable for the purpose are opened up.
About Canada
Canada is a country in North America consisting of ten provinces and three territories. Located in the northern part of the continent, it extends from the Atlantic to the Pacific and northward into the Arctic Ocean. At 9.98 million square kilometres in total, Canada is the world's second-largest country by total area and the fourth-largest country by land area. Its common border with the United States is the world's longest land border shared by the same two countries.
Being Canadian
For better or worse, zoos are how most people come to know big or exotic animals. Few will ever see wild penguins sledding downhill to sea on their bellies, giant pandas holding bamboo lollipops in China or tree porcupines in the Canadian Rockies, balled up like giant pine cones. Diane Ackerman
Canadian Facts
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Played on the big screen by Fay Wray, Jessica Lange, and Naomi Watts, Ann Darrow was the object of what creature's affection? | The 100 greatest female characters in movies | GamesRadar+
The 100 greatest female characters in movies
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Females on film
While film school classes and incensed critics continue to debate the lack of women in film, female actresses are fighting the good fight on the silver screen itself. Alas, not in anywhere near the numbers needed - provided things were a little bit fairer, of course - or that woman over the age of 40 didn't suddenly become a movie exec's idea of nightmare kryptonite.
Over the years, these actresses have been asked to play any number of damsels, dames, nagging housewives, ditzy girlfriends and occasionally (just occasionally) an interesting and nuanced character. This list celebrates the latter, looking at the very best female creations in the history of cinema. Enjoy.
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100. Baby (Dirty Dancing)
The Character: Dirty Dancings Jewish princess learns to thrust n grind with Swayzes Johnny Castle. Nobodys gonna put her in a corner now.
The Actress: Though familiar as Ferris Buellers sister, Jennifer Grey was also the daughter of Oscar-winning dancer Joel Grey, so had the heritage to pull off those moves. And still has, judging from her recent Dancing With The Stars win.
The Performance: The Bible for how to become a woman, for girls of a certain age.
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99. Cherry Darling (Planet Terror)
The Character: Planet Terrors go-go dancer, whose job title is aptly named. Not even having her leg torn off by zombies can stop her. Plug in a grenade-launching gun and shes good to go-go.
The Actress: Already a cult sensation thanks to Charmed and a fistful of Gregg Araki movies, Rose McGowan was born to play Grindhouse.
The Performance: Rich in knowing humour and fucked-up sexiness, Roses Cherry is exactly the kind of girl you need in the post-apocalypse.
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98. Vivian Ward
The Character: The titular Pretty Woman, who doesnt let being a prostitute get in the way of a Pygmalion-style makeover into a modern-day princess.
The Actress: Julia Roberts had shown Oscar-nominated promise in Steel Magnolias, but still had to wait until others (including Daryl Hannah and Meg Ryan) turned it down. Result: the It Girl of the early '90s.
The Performance: Developed as a dark drama called $3000 (as in, shell do anything for that price), the decision to lighten the mood into a love story was centred on Julia Roberts toothy charm and wholesome appeal.
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97. Samantha Baker (Sixteen Candles)
The Character: Suburban teenager looking forward to blowing out Sixteen Candles with family and friends, only to discover everybody's forgotten her birthday except Ted the Geek.
The Actress: Debut director John Hughes needed experience but wanted a genuine teenager. He found the combo in Molly Ringwald, still only 16 herself, but fresh off Spacehunter: Adventures in the Forbidden Zone.
The Performance: Gawky, sarcastic and idealistic, Ringwald represented a richer, more realistic paradigm for screen depictions of teenage girls.
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96. Stiflers Mom (American Pie)
The Character: Put simply, a MILF. And the inspiration for a sub-genre of porn remains a satisfyingly flirty, filthy archetype.
The Actress: This was jobbing comedienne Jennifer Coolidges big-screen breakthrough, enough to get her a regular gig as one of Christopher Guests Mockumentary repertoire alongside American Pie co-star Eugene Levy.
The Performance: A shallow, one-dimensional figure on paper gets real presence thanks to the naughty twinkle in Coolidges eyes.
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95. Layla (Buffalo '66)
The Character: Buffalo 66s teenage dancer, who is kidnapped by crazy ex-con Billy Brown but is arguably just as crazy herself, willingly pretending to be his wife for a strange family reunion.
The Actress: Child star Christina Ricci was in the process of translating Addams Family oddness into an adult career. She followed Buffalo 66 with the equally acerbic The Opposite of Sex.
The Performance: Director/star Gallo labelled Ricci a puppet, but she gives as got as she gets, refusing to let Layla be drowned out by Gallos narcissism.
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94. Marquise de Merteuil (Dangerous Liaisons)
The Character: The most dangerous liaiser in Dangerous Liaisons, the Marquise is in the business of ruining lives for her own sexual pleasure.
The Actress: By the late 1980s, Glenn Close was both a major film star thanks to Fatal Attraction, and a Broadway veteran - the ideal combo for the plays tart dialogue.
The Performance: Arguably more frightening than Alex Forrest, Close acts as her own name suggests: quiet, guarded but devastatingly powerful.
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93. Karen Silkwood (Silkwood)
The Character: Real life worker in a nuclear power plant whose brave investigation into unsafe practices led to her suspicious death in a motor accident. This never happened to Homer Simpson.
The Actress: Still only in her mid-30s, Meryl Streep already had two Oscars under her belt and a reputation as the best actress around.
The Performance: More fuel for Streeps reputation, so utterly convincing as a blue-collar, mid-West factory worker you even believe that her best friend could be Cher.
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92. Marnie Edgar (Marnie)
The Character: Its hard enough being frigid kleptomaniac haunted by a terrible childhood memory, without brutish Sean Connery blackmailing you into marriage.
The Actress: When Grace Kellys royal marriage prevented a rematch with Alfred Hitchcock, he cast the ingnue hed groomed - and terrorised - during The Birds: Tippi Hedren.
The Performance: Marnie is the most challenging role given to a Hitchcock blonde induced a suitably hysterical, rabbit-in-the-headlights performance from Hedren.
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91. Briony Tallis (Atonement)
The Character: A teenage girl whose erroneous accusation in Atonement destroys a love affair and plagues her for the rest of her life.
The Actresses: Newcomer Saoirse Ronan, Romola Garai and Vanessa Redgrave - a miraculous generational relay race.
The Performances: Brionys later guilt and desperation are ably conveyed by Garai and Regrave, but its Ronans blazing, complex portrayal of pubescent confusion that dominates the film.
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90. Gertie (E.T.)
The Character: Elliotts younger sister, whose spontaneous affection for E.T. the extra-terrestrial forged a loveable bond between human and alien.
The Actress: Five-year-old Drew Barrymore was already a screen actress (debut: Altered States), but then her grandparents included Golden Age stars John Barrymore and Dolores Costello.
The Performance: Spielberg famously shot E.T. in chronological order, so Barrymores wide-eyed wonder is very probably the real thing.
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89. Mrs Danvers (Rebecca)
The Character: Deranged housekeeper who mentally torments the second Mrs de Winter for not living up to the standard set by her predecessor, the eponymous Rebecca.
The Actress: With A-list stars Laurence Olivier and Joan Fontaine in place, Hitchcock underlined Danvers menace by casting stage actress Judith Anderson, a relative unknown.
The Performance: Andersons spectral, sexually ambiguous presence fulfils Hitchcocks love of subtext perfectly: is Danvers a lesbian? Or even a ghost?
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88. Jean Brodie (The Prime Of Miss Jean Brodie)
The Character: Give her a girl of an impressionable age, and shes hers for life. Great, when Brodies teaching them about culture and romance. Not so smart when Brodie is worshipping fascism.
The Actress: Maggie Smiths star had slowly risen throughout the 1960s on stage and screen, but The Prime Of Miss Jean Brodie was her biggest role - and her biggest challenge - to date.
The Performance: Haughty, severe and yet often away with the fairies, Maggie Smith throws everything into her Oscar-winning role... to the point where everything shes done since (not least Minerva McGonagall) has echoes of Brodie.
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87. Malena Scordia (Malena)
The Character: Italian widow whose fidelity to her dead husband is shaken by poverty and the spectre of Nazi occupation.
The Actress: Director Giuseppe Tornatore, required to cast the most beautiful woman in town, went to the top - ex-model Monica Bellucci.
The Performance: Belluccis serene grace and frankly astounding looks have rarely been better showcased.
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86. Audrey 2 (Little Shop Of Horrors)
The Character: Named after the sweet object of florist Seymour's affection, but quite different from #1, Audrey 2 is a pychotic venus fly-trap with an insatiable appetite for human blood.
The Actor: Sorry, what? Yes, to distinguish her oddness, male actors have voiced Audrey 2. Charles B. Griffith in the original B-movie, Four Tops singer Levi Stubbs in the musical remake.
The Performance: Stubbs is the definitive reading, his distinctive baritone quivering with outrageous glee as he orders Seymour to "Feed Me!"
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85. Gilda Mundson Farrell (Gilda)
The Character: Flame-haired nightclub singer whose sheer presence ignites scandal and suspicion amongst two men: one, her husband, the other an ex-lover.
The Actress: Rita Hayworth, wartime pin-up and wife of Orson Welles.
The Performance: Hayworth exudes a sensuality that scandalised 1940s censors despite only removing a single glove in her infamous striptease to 'Who Put The Blame on Mame?'
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84. Matty Walker (Body Heat)
The Character: A film noir throwback in 80s modernist style, Matty twists an innocent man around her fingers using little more than raw sex.
The Actress: Kathleen Turner, in a film debut so startling it virtually steams up the screen.
The Performance: Sultry of look and husky of voice, Turner's indecently gorgeous, but it's the killer instinct that makes her one of the great femme fatales.
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83. Annie Savoy (Bull Durham)
The Character: Baseball groupie in Bull Durham with an unusually philosophical viewpoint: by shagging one Durham Bulls teammate every season, she can help him to become a better player.
The Actress: Susan Sarandon, a cult favourite for years, entered her 40s with belated mainstream popularity as one of The Witches of Eastwick.
The Performance: A crass piece of sporting wish fulfilment on paper, Sarandon's wry wisdom (and her budding real-life relationship with co-star Tim Robbins) makes you believe her passion.
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82. Sverine Serizy (Belle Du Jour)
The Character: Idle housewife whose boredom leads her to indulge her secret fantasies of submission by becoming a daytime prostitute, aka Belle Du Jour.
The Actress: Popular French starlet Catherine Deneuve was in the process of reinventing herself as a deeper, darker actress via Repulsion. Perfect timing for surreal satirist Luis Bunuel.
The Performance: It's all in the contrast between the transgressive imagery and Deneuve's porcelain beauty.
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81. Gloria Swenson (Gloria)
The Character: Mobster's moll who does a runner to protect a young boy being targeted by her one-time associates.
The Actress: Arthouse darling Gena Rowlands got first sight of the script, written (and eventually directed) by hubby John Cassavetes, and didn't let it go.
The Performance: A change of pace for Rowlands, but one in which her immersive realism helped to transform genre thrills into something more moving.
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80. Catherine Tramell (Basic Instinct)
The Character: Best-selling writer of crime novels like Basic Instinct whose inventive kills are being borrowed by a killer. Unless, of course, she's the killer.
The Actress: After muddling through the 1980s, Sharon Stone's break came as Arnie's wife in Paul Verhoeven's Total Recall. So when every other actress passed on playing Catherine, Verhoeven set up a rematch.
The Performance: Unavoidable. Stone knew she'd get noticed for this, and didn't hold back, although it's her slinky intelligence as much as the nudity which makes her so watchable.
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79. Phyllis Dietrichson (Double Indemnity)
The Character: The archetypal femme fatale, who seduces a haplessly horny fool in order to get him to murder her husband for the Double Indemnity insurance money.
The Actress: Billy Wilder wanted to shock. What better choice than Barbara Stanwyck, famed as a comedienne and the highest paid actress in Hollywood?
The Performance: Stanwyck adapts her confident comedic timing into a sexual predator who gets what she wants: a new kind of role model.
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78. Bess McNeill (Breaking The Waves)
The Character: Mentally disturbed Scotswoman in Breaking The Waves, whose life spirals into promiscuity and degradation after her oil rig worker husband is paralysed in an accident.
The Actress: The loss of Helena Bonham Carter - who bailed last-minute, aghast at the subject matter - became the gain of screen debutant Emily Watson, who had no such qualms.
The Performance: Watson's raw, fearless presence turns Lars Von Trier's potentially pretentious yarn into a visceral tragedy.
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77. Thelma Dickinson (Thelma And Louise)
The Character: Downtrodden housewife who's given on the road training in self-assertiveness by pal Louise when the killing of a would-be rapist sees them become scofflaws.
The Actress: Professional kook Geena Davis had impressed in leftfield roles (The Fly, Beetlejuice). Working with Ridley Scott provided the opportunity to crash the A-list.
The Performance: The yin to Susan Sarandon's yang, Davis gets the bigger character arc and better audience identification, learning to loosen up and getting to shag Brad Pitt.
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76. Alabama Whitman (True Romance)
The Character: Call girl whose liaison with film geek Clarence Worley kickstarts a True Romance that will see her escape her pimp, be chased by the Mob and become a drug dealer.
The Actress: Hitherto regarded, if at all, as Rosanna's younger sister, Patricia Arquette donned blue bra and shades to leapfrog her sis in audience love.
The Performance: The first great Tarantino heroine, Alabama sets the standard with unabashed sexuality and some mean fighting moves.
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75. Coraline (Coraline)
The Character: Young girl who feels neglected by her parents, but soon learns that the grass isn't greener when she finds an 'Other Mother' who wants to sew buttons where her eyes are.
The Actress: Stop-motion animated by the great Henry Selick, but voiced by Dakota Fanning, an expert in memorable girl acting after Man on Fire and War of the Worlds.
The Performance: A typically sparky Fanning performance aids the film's success in navigating the perils of becoming either an anodyne kids' movie or a outright horror flick.
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74. Annie Porter (Speed)
The Character: L.A. passenger unwittingly forced to keep her bus driving above a Speed of 50mpm. Which is ironic, considered she's only on the bus after being banned from driving for speeding.
The Actress: Sandra Bullock was really on the radar of genre buffs after supporting turns in The Vanishing and Demolition Man. But Speed was unignorable.
The Performance: Bullock's refreshing normality made her a contender for action's unlikeliest ever heroine, which of course is why she's so perfect in the role.
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73. Kate 'Ma' Barker (Bloody Mama)
The Character: Real-life Bloody Mama who presided over the cutthroat Barker family of public enemies in the 1930s.
The Actress: Double Oscar-winner Shelley Winters, an irrepressible force of personality and a major coup for Roger Corman's drive-in riff on Bonnie and Clyde.
The Performance: Winters was never unafraid to let rip with her acting, and here sails way over the top to essay a vicious matriarch for whom family comes first.
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72. Marge Gunderson (Fargo)
The Character: Jovial (and heavily pregnant) police chief of Brainerd - not Fargo - whose maternity leave gets put on hold when a faked kidnapping spirals into murder.
The Actress: Frances McDormand had first got noticed in the Coen Brothers debut and stuck close to them since. In fact, she married Joel.
The Performance: McDormand's chipper personality anchors the bloody chaos with affectionate humanity, and brought a new level of maturity to the Coens' ironic worldview.
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71. Elisabet Vogler (Persona)
The Character: Famous stage actress in a mute meltdown in Persona, who's sent to an island to recuperate with only chatty nurse Alman (Bibi Andersson) for company. Until the two kinda, sorta merge into one.
The Actress: Norwegian actress Liv Ullmann is indeliby linked with Ingmar Berman, appearing in nine films. It all started with Persona.
The Performance: Ullmann's serene impassivity takes on troubling hints of vampirism, as if she's feeding on Alma's stories. She's unsettling doing very little at all.
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70. Sally Albright (When Harry Met Sally)
The Character: From college graduate to career woman, the one constant in Sally's life is 'friend' Harry... but can men and women really be friends?
The Actress: At the time, the not-quite It girl of the 80s, with a celebrity partner (Dennis Quaid) and decent credits (Innerspace) but lacking that killer role. No wonder she pressured Rob Reiner to cast her as Sally.
The Performance: Ryan's girl-next-door charm cut against the vogue for stern yuppie types, but she still managed to show edge by faking an orgasm in a restaurant.
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69. Bonnie Parker (Bonnie And Clyde)
The Character: Bored, amoral waitress who reckons smooth-talking bank robber Clyde Barrow might be a better bet... until the exhilaration of their crime spree evaporates into bloodshed.
The Actress: Faye Dunaway - a contract player without a hit to her name - was at the top of nobody's list, but when Bonnie and Clyde producer/star Warren Beatty reckoned casting his troubled lover Natalie Wood would be too much hard work, Dunaway got the nod.
The Performance: Ground-breaking. Dunaway looked amazing in a beret and a gun, and her diffident rebellion confirmed the times were a-changing for a generation of actresses.
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68. Ada McGrath (The Piano)
The Character: Mute Scotswoman sold into marriage in New Zealand with only her garrulous daughter and The Piano for company.
The Actress: Holly Hunter was famous primarily for her fast-talking Southern twang. So Jane Campion's ability to see beyond that and use her in a non-speaking role verges on genius.
The Performance: Commanding. With next to nothing on the page, Hunter conjures up a world of feeling - and a mood of defiance against her treatment by men - through body language alone.
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67. Shoshanna Dreyfus (Inglorious Basterds)
The Character: Jewish survivor of her family's massacre by Nazis, who vows revenge, even if it means losing her prized movie theatre in the process.
The Actress:Tarantino wanted Inglorious Basterds to be a multi-lingual movie and needed a Frenchwoman at its heart. When Melanie Laurent was cast, she had to abandon rehearsals for a play she was scheduled to direct.
The Performance: Shosanna is the archetypal Tarantino heroine - a deadly movie buff. But Laurent plays her with such Gallic sang-froid Shosanna become a celebration of cinema's ability to create the impossible as she warps history onto a new path.
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66. Alice Hyatt (Alice Doesn't Live Here Anymore)
The Character: Widowed mom who decides to pack her bags in search of a better life and, if she doesn't find one there, well, Alice Doesn't Live Here Anymore either.
The Actress: Fresh off The Exorcist, Ellen Burstyn had the power to get her own project green-lit. And, unusually for a film with such a strong female voice, she selected the emerging master of male violence, Martin Scorsese, to direct it.
The Performance: The gamble paid off. Scorsese's edgy realism helped Burstyn's portrayal of a woman refusing to put up and shut up a landmark in screen feminism, and brought her home an Oscar to boot.
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65. Lee Holloway (Secretary)
The Character: Self-harming depressive who takes a job as a Secretary to try and get by, only to find out a) her kinky boss is into S&M and b) she kinda likes it.
The Actress: Maggie Gyllenhaal was in the shadow of brother Jake - her most famous credit was as Donnie Darko's own sister - when she made waves at Sundance with Secretary.
The Performance: The kind of role that doesn't come along very often, Gyllenhaal echoes Lee's liberation-through-punishment by bringing a wryly subversive enjoyment to the film.
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64. Barbarella (Barbarella)
The Character: Futuristic space cadet from an era when people thought sex could solve all of the world's problems. An era called the 1960s.
The Actress: The original comic book series had used Brigitte Bardot as its model. But director Roger Vadim didn't even bother leaving the house... he cast his wife, Jane Fonda.
The Performance: Such is Fonda's kittenish appeal (especially her opening zero-G striptease) that she spent the entire 1970s trying to throw off the scent through scorching dramatic turns in Klute and Coming Home.
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63. Annie Wilkes (Misery)
The Character: Nutzoid fan who decides to take drastic action when she discovers her favourite author is set to kill off his greatest creation, Misery.
The Actress: Kathy Bates had worked steadily with little fanfare throughout the 1970s and 1980s, ensuring audiences wouldn't know what to expect until it was too late.
The Performance: Folksly in manner and frightening in effect, Bates redefined the 'hagsploitation' model to show that women would wield as much hobbling power as the fellas.
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62. Sylvia (La Dolce Vita)
The Character: Movie star on a press junket in Rome, whose narcissistic excesses draws journalist Marcello into a night of frolics in the Trevi Fountain.
The Actress: Busty Anika Ekberg was a major European sex bomb during the 1950s, making her arrival in La Dolce Vita something of a stunt casting.
The Performance: A fleeting cameo, really, but one that became the signature image of 1960s European sex appeal and a still-pertinent satire on the private lives of movie stars.
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61. Regan MacNeil (The Exorcist)
The Character: 12-year-old who appears to be acting up for her movie star mother... until pea soup vomit, spinning heads and crucifix masturbation suggest the cause might be more diabolical.
The Actress: Not exactly the easiest role to cast, The Exorcist director William Friedkin went as far as considering using an adult dwarf until child actress Linda Blair impressed during auditions. Even so, the scary voice was supplied by veteran Mercedes McCambridge.
The Performance: Blair is terrifyingly convincing, and got under her skin enough to lead to drug troubles later in life. Fortunately, she exorcised those demons and is an animal rights activist today.
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60. Mary Poppins (Mary Poppins)
The Character: Practically perfect in every way, Mary's the nanny who puts imagination first and to hell with health and safety.
The Actress: The Broadway star of My Fair Lady was a shoo-in to play Eliza Doolittle in the film, until producers decided she wasn't bankable enough. Disney swooped in to make Mary Poppins her film debut.
The Performance: Practically perfect, etc. Prim and proper on the outside, but a whirlwind of twinkly mischief within, Andrews got her revenge on the My Fair Lady team by scooping the Best Actress Oscar.
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59. Mildred Pierce (Mildred Pierce)
The Character: Formidable mother who raises herself up to become a restaurant owner to provide for her daughter - even though the latter loathes her.
The Actress: Joan Crawford, one of the stars of the 1930s, who had been absent from the screen for a few years and fancied Mildred as a suitable comeback vehicle.
The Performance: Crawford's volatile relationship with her own daughter would later be dredged up in biopic Mommie Dearest, which makes you wonder how much of herself Crawford threw into the role.
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58. Margo Channing (All About Eve)
The Character: The star attraction on Broadway, at least if it wasn't for a scheming protege trying to make the story All About Eve. It's going to be a bumpy night.
The Actress: Bette Davis, at the time the most Oscar-nominated actress but with a reputation for prickliness and fading fortunes in recent years. Perfect casting.
The Performance: Tapping in every actress' fear of growing old and being cast aside, Davis' way with a bitchy one-liner is an imperious reminder that great actresses get better with age.
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57. Adrian Pennino Balboa (Rocky)
The Character: Rocky Balboa's long-suffering girlfriend, then wife. Outwardly timid, but a consistent fighter in Rocky's own corner.
The Actress: Talia Shire, Francis Ford Coppola's sister, was already well-known as The Godfather's Connie Corleone when John G. Avildsen cast her as another Italian-American wallflower.
The Performance: Authentic. Shire downplays for maximum realism, even borrowing her mother's maiden name, Pennino, for Adrian's own. With five films in total, she's the most sequelised actress/character in this list.
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56. Nikita (La Femme Nikita)
The Character: Convicted junkie retrained by French intelligence to become an assassin.
The Actress: Luc Besson chose statuesque Anne Parillaud, kickstarting a brief if ill-advised dalliance with Hollywood. The later American TV series cast Peta Wilson. Contrary to popular belief, though, Bridget Fonda's big-screen character wasn't Nikita but Maggie.
The Performance: Tres chic amidst Besson's designer violence, Parillaud also convinces as a woman slowly learning to undo her training and give herself options.
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55. 'Baby' Jane Hudson (Whatever Happened To Baby Jane?)
The Character: Whatever Happened to Baby Jane? The one-time child star who had to watch aghast as her sister Blanche overtook her fame in adulthood. At least now they're old and Blanche is wheelchair-bound, she has a chance at payback.
The Actress: Robert Aldrich somewhat cruelly cast Golden Age icon Bette Davis against her real-life rival Joan Crawford, hoping to get fireworks. He got 'em.
The Performance: Davis must have realised that her part was tantamount to character assassination, but she also recognises a great part at goes for it, unafraid to look haggard and relishing the slanging match with Crawford.
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54. Summer Finn (500 Days Of Summer)
The Character: Free spirited indie kid with immaculate taste - which makes her both an ideal and an impossibility in romance over the (500) Days of Summer.
The Actress: Zooey Deschanel - kooky, leftfield character actor, singer in She & Him - is basically Summer in real-life. Not a stretch.
The Performance: Director Mark Webb intentionally made Summer a man's-eye view of the perfect girlfriend, but that's not exactly difficult when Deschanel is so adorable.
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53. Judy Barton/Madeleine Elster (Vertigo)
The Character: The object of Scotty Ferguson's (James Stewart) obsession. A seemingly haunted beauty, who's really a wrong'un pretending to be one, no wonder Scotty suffers from Vertigo.
The Actress: Vera Miles, or would've been if she hadn't become pregnant. So Kim Novak got the part, to Alfred Hitchcock's apparent disdain.
The Performance: Shifting with ambiguity, Judy's true feelings remain an enigma more than fifty years on (largely thanks to Novak's subtle understatement).
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52. Debby Marsh (The Big Heat)
The Character: Gangster's moll in The Big Heat whose growing friendship with the cop on his tail causes her bad boyfriend to throw boiling coffee in her face.
The Actress: Gloria Grahame was the Hollywood starlet who didn't fit the mould. Too brassy and bad-ass to play romantic leads. Film noir suited her perfectly.
The Performance: It's the coffee everybody remembers, but Grahame mines a strikingly tragic seam as a woman who has made a pact with the devil because she's experienced worse.
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51. Amelie (Amelie)
The Character: Whimsical do-gooder whose benign interference helps out friends and neighbours, but who then has to help herself when she falls in love with a stranger.
The Actress: Audrey Tautou came to fame winning an X Factor-style acting contest on French television, which is weirdly apt for a character whose daydreams become reality.
The Performance: Tautou's elfin look meshed as perfectly with Jean-Pierre Jeunet's off-kilter sensibility as her infectious joie de vivre.
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50. Jessie (Toy Story 2)
The Character: Born to be the rootingest, tootingest of toys, Jessie suffers the most when she's abandoned by Emily. Andy gives her a second chance at happiness, but what happens if he leaves her, too?
The Actress: Joan Cusack, sister of John who's equally talented but less starrier, was ideally placed for Pixar's commitment to casting talent over stardom.
The Performance: Cusack nails Jessie's central dichotomy of a personality branded by manufacturers to be bubbly but driven by reality to be desperately sad.
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49. Nurse Ratched (One Flew Over The Cuckoo's Nest)
The Actress: A protege of Robert Altman, Louise Fletcher was initially slated to appear in Nashville until a falling out made her available for One Flew Over The Cuckoo's Nest.
The Performance: As cold and cruel a portrayal of institutional brutality as has ever been depicted, largely because Fletcher keeps her hatred bubbling away under the false friendship of her thin-lipped smile.
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48. Alex Forrest (Fatal Attraction)
The Character: Publishing editor whose affair with married Dan Gallagher (Michael Douglas) unleashes a Fatal Attraction of latent jealousy and homicidal rage against household pets. Poor bunny.
The Actress: Jagged Edge had pushed the acclaimed supporting actress into leading roles, setting her up nicely for a mainstream thriller requiring nuanced, realistic villainy.
The Performance: The film, especially in its reshot ending, wants to turn Alex into a monster. But Close is far more interesting in portraying scarily plausible mental illness.
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47. Evelyn Mulwray (Chinatown)
The Character: Engineer's wife who becomes the centre of Chinatown's maelstrom of murder and perversion, after private eye Jake Gittes is hired to follow a woman who's pretending to be Evelyn.
The Actress: Good thing producer Robert Evans' wife Ali McGraw eloped with Steve McQueen. Her departure from the project brought in Faye Dunaway, who had the perfect porcelain looks for the 1930s period setting.
The Performance: As Evelyn Mulwray's composure unravels into hysteria, so too did Dunaway's under Roman Polanski's bullying. She eventually threw a cup of piss (allegedly Jack Nicholson's) into her director's face.
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46. Blanche Dubois (A Streetcar Named Desire)
The Character: Fragile flower who makes the mistake of thinking old-world courtesy and grace can be found in the hulking menace of brother-in-law Stanley Kowalski. A stranger's just a friend you haven't met? Yeah, right.
The Actress: Elia Kazan's adaptation of A Streetcar Named Desire retained the cast he'd used on Broadway...except Jessica Tandy, bypassed in favour of Hollywood's most famous screen Southener, (the British) Vivien Leigh.
The Performance: Faced both with the prospect of a cast parted from its star, and the radical Method acting of Marlon Brando, it's no wonder Leigh's Blanche looks genuinely unsettled.
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45. Paikea Apirana (Whale Rider)
The Character: Technically next in line to inherit leadership of her Maori tribe, but hampered by her people's patronising attitude to her being a girl, she decides to prove herself as the Whale Rider anyway.
The Actress: This was Keisha Castle-Hughes' first film. Indeed, she'd never even been on a film set before shooting this. Didn't stop her becoming the youngest ever Best Actress Oscar nominee.
The Performance: Headstrong, flintily determined and tomboyish, Castle-Hughes lands the right side of the line divides moving drama and Free Willy.
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44. Charlotte (Lost In Translation)
The Character: A newlywed graduate, virtually abandoned in a Tokyo hotel by her photographer husband and Lost In Translation, who strikes up an unlikely friendship with equally lonely movie star Bob Harris.
The Actress: Rising star Scarlett Johansen had already wowed the indie intelligentsia in films by Terry Zwigoff and the Coens - exactly the right level of hip for Sofia Coppola's on-screen alter-ego.
The Performance: Coppola's intimate mood piece coaxed real 'where is my life going?' thoughtfulness from Johansen. Some of her subsequent movie choices suggest she never quite figured out the answer.
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43. Ofelia (Pan's Labyrinth)
The Character: Girl in wartorn Spain who must reluctantly live her sadistic stepfather, but is far more intrigued by the neighbouring Pan's Labyrinth.
The Actress: Guillermo Del Toro had intended to cast a younger actress until the arrival of ten-year-old Ivan Baquero forced him to tweak the screenplay to accommodate her.
The Performance: It's hard to find a young actress who can convincingly play against special effects, harder still to find one capable of conveying the tragedy of Ofelia's harsh reality. Baquero makes both look easy.
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42. Margot Tenenbaum (The Royal Tenenbaums)
The Character: A child genius from The Royal Tenenbaums family of child geniuses, Margot became an award-winning playwright in her youth but has since succumbed to ennui and secret smoking.
The Actress: Gwyneth Paltrow's unexpected Oscar triumph in Shakespeare in Love allowed her to roam outside of obvious mainstream fare, so Wes Anderson was, in an odd way, a natural fit.
The Performance: Required to dress and move with the same studied poise as screen siblings Luke Wilson and Ben Stiller, it's nevertheless Paltrow who locates tragic glamour amidst the irony.
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41. Holly Golightly (Breakfast At Tiffany's)
The Character: She plays hard and parties harder, but that's still no excuse for not looking fabulous. How else can she expect to enjoy Breakfast at Tiffany's?
The Actress: The novella's author Truman Capote insisted on Marilyn Monroe. Paramount went the other way and cast style icon Audrey Hepburn.
The Performance: Given that Hollywood bowdlerised Capote's creation (it's barely noticeable Holly's a prostitute), Audrey's effortless grace and charm are essential to selling the idea that she's simply floating through life.
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40. Mindy 'Hit Girl' Macready (Kick Ass)
The Character: Raised to become a Kick-Ass vigilante by mad Dad Damon - aka Big Daddy -it's no wonder Mindy wields weapons and drops C-bombs without ever worrying about detention.
The Actress: Chloe Moretz first showed her remarkable wiser-than-her-years cool in (500) Days of Summer. Director Matthew Vaughn merely added blood.
The Performance: Inevitably controversial and consistently hilarious, Moretz's unblushing poise made her surely the youngest action-movie icon of them all.
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39. Chihiro Ogino (Spirited Away)
The Character: Ten-year-old girl worried about changing schools... until she gets bigger things to worry about. Namely, her parents get transformed into pigs and she gets Spirited Away.
The Actress: Rumi Hiragi did voicework in the film's original Japanese; Daveigh Chase took on English dub duties. But the real performers are the impeccable Studio Ghibli artisans drawing under the direction of Hayao Miyazaki.
The Performance: Chihiro becomes the definitive Miyazaki girl heroine (against some pretty stiff competition) thanks to the voice artistes replicating the cartoon's wide-eyed wonder with real awe.
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38. Mia Williams (Fish Tank)
The Character: Troubled teen in the Fish Tank of a council estate who has to grow up fast when she gets a little too close to her mother's new boyfriend.
The Actress: Untrained Katie Jarvis, famously auditioned after a casting agent spotted her having an argument with her boyfriend.
The Performance: Filmed in chronological order, Jarvis' reactions are naturalistic and plausible expressions of listless working class life without slipping into melodrama or condescension.
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37. Jessica Rabbit (Who Framed Roger Rabbit?)
The Character: She's not bad. She's just drawn that way.
The Actress: The unmistakable husky tones of Kathleen Turner, sending up her own sex-bomb status. But Amy Irving supplied the singing voice and Betsy Brantley was Jessica's live action stand-in. Note: she looks nothing like Jessica Rabbit.
The Performance: The curviest curves and the fanciest fantasy. But Turner walks the tightrope between post-modern joke and genuine allure so well Jessica still appears on Sexiest Movie Star lists despite being a cartoon.
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36. Older Daughter (Dogtooth)
The Character: One of three siblings kept in surreal isolation by their parents in Dogtooth. Forced sex and animal abuse are normal; the discovery of Rocky and Jaws on VHS a life-changing moment.
The Actress: Thirty-something Aggeliki Papoulia, an up-and-coming Greek talent.
The Performance: Raw and subversive, Papoulia has to make the most shocking stuff seem part of her reality. The most shocking thing is how easily she pulls off that illusion.
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35. Ursa (Superman 2)
The Character: Cruel Kryptonian who follows General Zod on a path of destruction in Superman 2, primarily as an excuse to beat the crap out of men.
The Actress: British telly actress Sarah Douglas beat 600 other hopefuls to the role of Ursa, and survived the behind-the-scenes that saw Richard Lester refilm much of the original footage she'd shot with Richard Donner.
The Performance: No mean feat standing out alongside Terence Stamp and the giant that is Jack O'Halloran. But Douglas achieves it simply by being so fabulously sneery in wreaking havoc.
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34. Ann Darrow (King Kong)
The Character: Life imitates art. Ann's an actress who agrees to film an adventure movie on Skull Island, only to become the object of lust for its simian ruler, King Kong, for real.
The Actress: Ah, the vicissitudes of the studio system. When RKO couldn't prise first choice Jean Harlow from her contract with MGM, the role went to its latest signing, Fay Wray. Later Anns were Jessica Lange and Naomi Watts.
The Performance: Inevitably upstaged by her stop-motion star, but it's Wray beauty that sells Kong's love - and her scream who sells his scariness.
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33. Betty Elms / Diane Selwyn (Mulholland Drive)
The Character: An aspiring Hollywood actress on the up... or possibly a fantasy her failed Doppleganger. Mulholland Drive is a David Lynch film, after all.
The Actress: Reportedly, Lynch auditioned indie actress Naomi Watts based on a photograph, and cast her after seeing her dolled up and dressed down.
The Performance: A revelation. Watts plays on her lack of recognition by playing Betty as a naive simpleton... and then unleashing unguessable layers of subtlety and range.
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32. Scarlett O'Hara (Gone With The Wind)
The Character: Gone With The Wind's Southern belle who doesn't let a rogue like Rhett Butler, or the small matter of civil war, get in the way of getting on with life.
The Actress: The biggest casting call of them all... and anyone who put money on British stage actress and Hollywood virgin Vivien Leigh probably made enough to retire.
The Performance: Faultless in accent and fearless in emotion, it's no wonder critic Andrew Sarris later said "she lives in our minds and memories as a dynamic force rather than as a static presence."
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31. Coffy (Coffy)
The Character: Foxy nurse-turned-vigilante who uses her sexuality to seduce and destroy.
The Actress: Director Jack Hill had already cast Pam Grier in several women-in-prison movies, so he knew she had the goods to deliver on his blaxploitation thrill-ride.
The Performance: Forget ghettoisation. Grier's fierce determination made her a role model for women of all races.
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30. Kym (Rachel Getting Married)
The Character: Recovering drug addict who unwisely decides to work on her twelve-step programme at her sister's wedding, in Rachel Getting Married.
The Actress: Anne Hathaway had already bared boobs in Brokeback Mountain to escape her Princess Diaries past, but this was the role to demolish her good-two-shoes image.
The Performance: With Jonathan Demme shooting off-the-cuff, Hathaway had to live out Kym's self-destructive selfishness. Judging by this year's Oscar ceremony, she still hasn't come down.
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29. Trinity (The Matrix)
The Character: The ultimate femme to have around when coping with pre-millennial angst: a kick-ass tech-noir action-hero in shades and leather.
The Actress: Jobbing Canadian actress Carrie-Anne Moss, who snuck into A-list contention because all eyes were on The Phantom Menace and not on The Matrix.
The Performance: Larry Fishburne's too distant, Keanu too Keanu-esque, leaving Moss to provide the film's cool wit. Shame she'd got consigned to sappy love interest by the third film.
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28. Lady (Lady And The Tramp)
The Character: Posh spaniel who learns to live footloose and collar-free when she's inadvertently turfed out of the comfort of home and into the care of The Tramp.
The Actress: Silent star Barbara Luddy, who'd switched to radio and hadn't acted on screen for decades. Lady kickstarted a regular paycheque voicing characters for Disney.
The Performance: Luddy's tones capture just the right tone of elegance, but spare a thought for the character design of Joe Grant, whose sketches for Lady had been kicking around since the 1940s.
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27. Louise Sawyer (Thelma And Louise)
The Character: The alpha female in Thelma and Louise, whose trigger finger kickstarts a girls' weekend of sex, murder and exploding gas tankers.
The Actress: Written as a younger woman, Ridley Scott went the other way, helped by the fact that Sarandon was both a better, and a sexier, actress in her 40s than anybody else.
The Performance: It's hard to distinguish between Sarandon and Geena Davis, but Susan's wry self-awareness and uncompromised womanhood exemplified the film's neo-feminist credentials.
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26. Nina Sayers (Black Swan)
The Character: Ballerina whose meticulous style and girlish naivety are perfect for the White Swan... but can she exude the sexual menace of the Black Swan?
The Actress: Natalie Portman was getting Closer to shaking off her Princess Amidala image, but it took madness and weird lacerations to dispel it entirely.
The Performance: There's Method in Portman's madness, learning those arduous ballet moves and then throwing herself into lesbian clinches with Mia Kunis.
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25. Enid
The Character: A social outcast and proud, Ghost World's heroine would much rather hang around with the weird guy who collects blues albums than be into boys or clothes.
The Actress: Thora Birch was on a high after American Beauty and--more importantly--totally looked like Daniel Clowes' comic-book creation.
The Performance: Still in her teens, Birch's attitude bounces off the screen. Alas, it was all downhill from here.
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24. Rosemary Woodhouse (Rosemary's Baby)
The Character: Naive housewife who freaks out when the Satanists next door decide that Rosemary's Baby will be the antichrist.
The Actress: Mia Farrow got the role, despite the objections of director Roman Polanski (who wanted to cast his wife, Sharon Tate) and husband Frank Sinatra, who served divorce papers to her on set.
The Performance: The off-screen turmoil only intensified Farrow's waif-like frailty, to make Rosemary a thoroughly convincing victim.
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23. Mrs Robinson (The Graduate)
The Character: The pros and cons of '60s sexual revolution. You get to have an affair with The Graduate, but he ditches you for your daughter.
The Actress: Anne Bancroft had won an Oscar for The Miracle Worker near the beginning of the decade, but Hollywood hadn't quite worked out what to do with her. So despite only being five years older than Dustin Hoffman, she jumped at the chance of a decent part.
The Performance: Some of Bancroft's understandable world-weariness rubs off on Mrs Robinson, who never seems all that happy with either her everyday reality or her extra-marital escapades.
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22. Dory (Finding Nemo)
The Character: Yes, there's a fish called a dory. But this Dory's a regal tang. She's probably forgotten that. Lovely girl, of course, but so absent-minded there's little chance of her Finding Nemo.
The Actress: Pixar's ever-flexible approach to voice casting paid off when Andrew Stanton noticed Ellen Degeneres rapidly zig-zagging from subject to subject on a talk show.
The Performance: Degeneres had faced conservative flack ever since coming out in 1997. You can almost feel the liberation as she loses her as a kooky pixellated fish.
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21. Veronica Sawyer (Heathers)
The Character: When the pressure of conforming to Heathers rules gets too much, why not try giving your teenage angst a body count? Made nihilistic through sheer boredom, Veronica is Generation X, before Generation X even had a name.
The Actress: Ryder was already a leftfield talent thanks to Beetlejuice, but Michael Lehmann made her a cult heroine for girls who were a little badder than John Hughes ever made them.
The Performance: Nowadays, after the shoplifting and drug troubles, it's hard not to watch Heathers and come to the conclusion that Ryder's tapping into real darkness to channel Veronica's acidic worldview.
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20. Mia Wallace (Pulp Fiction)
The Character: Quentin Tarantino's Pulp Fiction dream girl has a eye for fashion, an ear for a tune, and a nose for cocaine... That's not cocaine. Oh.
The Actress: Miramax wanted an A-lister; Meg Ryan was mentioned. Tarantino wanted to create an A-lister, and cast Uma Thurman. Disco.
The Performance: Sardonic and sexy in a very 1990s way, Thurman moves so effortlessly it takes a hypodermic to the heart to remind you Mia is fictional.
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19. Clarice Starling (Silence Of The Lambs)
The Character: The FBI Academy's hottest prospect is also a yokel-made-good plagued by The Silence of the Lambs. One of those qualities is going to her noticed by Hannibal Lecter... but which?
The Actress: Thomas Harris' nerve-shredding novel proved to much for Michelle Pfeiffer. But Jodie Foster had proved in The Accused that she was willing to embrace the extreme and jumped in... although sequel Hannibal proved too much for even her.
The Performance: Clarice attracts undue attention as a woman in a man's world, and builds a frosty exterior to cloak her femininity. Foster, having made her name playing a teenage prostitute and inspired an Presidential assassination attempt by the age of 20, totally gets it.
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18. Laurie Strode (Halloween)
The Character: Virginal babysitter who survives Michael Myers' Halloween bloodbath only to get trapped by a deadlier foe: sequels.
The Actress: Though already acting on telly, Jamie Lee Curtis hadn't made a film. Then again, her mother Janet Leigh had made one that made Jamie perfect casting as a scream queen.
The Performance: Curtis' willingness to play things straight was instrumental in turning potential shlock into genre art. By her return in Halloween H20, she's effectively become the Ellen Ripley of slasher movies.
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17. Carrie White (Carrie)
The Character: Sure, all teens are troubled, but when your religious crank of a mother hasn't explained puberty, the school bully has targeted you for punishment and you have telekinetic powers, something's got to give.
The Actress: Badlands sensation Sissy Spacek was alerted to the role by her husband, art director Jack Fisk. She wanted it so much she turned up at audition a la Carrie: unwashed and dressed in clothes from her childhood.
The Performance: Spacek anchors Brian De Palma's extravagant visuals with a startling blend of insecurity and intolerance, with probably the greatest death stare in cinema history.
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16. Bridget Gregory (The Last Seduction)
The Character: The Last Seduction's unscrupulous femme fatale has more balls than any of the men in her life. She's a post-feminist icon for a post-modern noir.
The Actress: Character actress Linda Fiorentino might have been working for years (including with Scorsese in After Hours) but The Last Seduction proved the very definition of an overnight success.
The Performance: The famous unguarded Fiorentino has lambasted Hollywood conformity so often it's clear she relishes the opportunity to play an out-and-out, totally uncompromised bitch. It's a shame she was ineligible for Oscar consideration, thanks to the film's premiere being on HBO.
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15. Catwoman (Batman Returns)
The Character: Spinsterish secretary Selina Kyle unleashes her inner sex kitten after a near-death experience. But, for the sake of this article, it's all about the catsuit.
The Actress: Tim Burton was apparently unfamiliar with Michelle Pfeiffer's work when first choice Annette Bening dropped out due to pregnancy. If Burton had seen The Fabulous Baker Boys, Pfeiffer would have been the first choice.
The Performance: Pfeiffer takes such delight in prowling through the film you have to wonder if she's acting out some private fantasy. If only Halle Berry had done the same. C'mon, Hathaway, make it two out of three.
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14. Matilda (Leon)
The Character: Ordinarily, Leon the milk-drinking hitman would be the coolest character in his film. But not when there's a 12-year-old girl who wants to be a hitwoman.
The Actress: Luc Besson cast promising acting talent Natalie Hershag, necessitating a swift name-change to adopt her grandmother's maiden name, Portman. What happened next? See entry #26.
The Performance: Portman's was the most gobsmacking child performance since Jodie Foster in Taxi Driver. Wise enough beyond her years to mix unsettling coquettish charm with single-minded intensity, she instantly marked Mathilda - and Portman - as one to watch.
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13. Lisbeth Salander (The Girl With The Dragon Tattoo)
The Character: The literary sensation of recent years, Stieg Larsson's pierced punk avenger - The Girl With The Dragon Tattoo herself - overcomes the most appalling of odds to bust heads in the name of justice.
The Actress: Already acclaimed in her native Sweden, the Millennium trilogy made Noomi Rapace a global art-house star who's now on the Hollywood A-list in Sherlock Holmes: A Game of Shadows and Prometheus.
The Performance: Rapace's perfectly calibrated blend of rage and vulnerability has transformed a cool character on the page into an on-screen phenomenon. Rooney Mara has her work cut out.
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12. Jackie Brown
The Character: Middle-aged air hostess and drug mule who gets a chance to kick back against the system and, perhaps, find a new love in her life.
The Actress: Tailor-made as a career comeback for one-time blaxploitation icon Pam Grier, to the point Tarantino changed the ethnicity of Elmore Leonard's original character.
The Performance: Grier's still got that no-nonsense Foxy Brown vibe. But she teases out the unspoken years of drudgery in Jackie's story to underpin her triumph with a core of plaintive emotion.
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11. Eli (Let The Right One In)
The Character: A 12-year-old with a bit of a Goth thing going on... or a 200-year-old vampire damned by her addictive craving for blood?
The Actress: Open casting brought Lina Leandersson to Let The Right One In director Tomas Alfredson's attention. But he overdubbed her with deeper-voiced actress Elif Ceylan to underscore the disconnect between Eli's appearance and her actual age.
The Performance: Forget the voice. Leandersson's unnervingly still performance is what mesmerises: at once a confident old-timer and yet still somehow a child when it comes to forging human relationships.
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10. Sugar Kane Kowalczyk (Some Like It Hot)
The Character: How to torment two guys in drag who need to keep their cover intact? A girl so sweet you can't help liking her... and sexy as hell singing 'I Wanna Be Loved By You' in a diaphanous gown. Some Like It Hot, indeed.
The Actress: Billy Wilder had suffered agonies while filming The Seven Year Itch trying to get Marilyn Monroe to remember her lines. But he still knew the effort of hiring Hollywood's biggest star was worth it.
The Performance: Monroe famously studied Method acting during the late 1950s, something that made her the butt of cruel Hollywood jokes. But she mined her troubled personal life to add a tangible air of sadness to counterpoint her exquisite comic timing.
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9. Hildy Johnson (His Girl Friday)
The Character: Anybody who knows classic play The Front Page, where Hildy's fast-talking reporter is a man, is in for a shock. In the best change-to-a-remake ever, in His Girl Friday Hildy's editor Walter Burns is also her ex-husband.
The Actress: Rosalind Russell was furious that Howard Hawks asked half a dozen actresses to play the role before her... Fortunately, that's the attitude Hawks was after.
The Performance: Russell, afraid her dialogue wasn't as good as co-star Cary Grant's, hired a writer to beef up her lines. So when Hawks encouraged ad-libs, she's already perfected her hundred-word-a-minute zingers.
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8. The Bride (Kill Bill)
The Character: Take the battered archetype of countless rape-revenge horrors, give her the fighting spirit of martial arts movies, the laconic amorality of Spaghetti Westerns, and a very cool yellow tracksuit... and voila.
The Actress: Uma Thurman began creating her Kill Bill character with Quentin Tarantino on the set of Pulp Fiction, so this decision never even got as far as a casting director - despite the wasted potential (Batman and Robin, The Avengers) in the interim years.
The Performance: Thurman's statuesque figure and wry death-stare made compelling action a given. What was more unexpected was the subtlety with which Thurman stripped away The Bride's iconic poise to reveal the tragic, vulnerable figure of Beatrix Kiddo beneath.
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7. Hermione Granger (Harry Potter series)
The Character: A clever clogs whose intelligence helps her do cool tricks with a magic wand, Hermione is this generation's finest girl-geek. Don't believe us? Give it ten years, and Hermione will be even higher up this list.
The Actress: Hundreds auditioned, but stars will out. So it was that nine-year-old Emma Watson, without a professional credit to her name, bagged the role of her short lifetime.
The Performance: We've all seen Hermione grow up thanks to Watson, and that brings layers Rowling never dreamed of. Who would have thought the precocious kid of ten years ago would become the remarkable woman who brought such tender realism to The Deathly Hallows: Part 1?
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6. Dorothy Gale (The Wizard Of Oz)
The Character: The girl who dreams of getting away from boring sepia reality and is duly whisked away into a Technicolor fantasy... only to get there and realise maybe, actually, there's no place like home. We've all been there, right?
The Actress: Child star Judy Garland was only second choice for The Wizard Of Oz (behind Shirley Temple) but the role defined her all the way to her tragic early grave.
The Performance: Wide-eyed with wonder, Garland roots the craziness - Munchkins! Scarecrows! Flying monkeys! - with homely grace and sincere emotion. Dorothy could so easily get lost in the mix, but be honest: Garland has you hooked from the first notes of 'Over The Rainbow.'
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5. Princess Leia Organa (Star Wars)
The Character: Royalty turned revolutionary, a capital-L Lady with a laser gun in her hand and a soft spot for rogues. Cool, even before you know she also has Jedi blood.
The Actress: Plenty of great actresses auditioned but there's a pleasing symmetry in the fact that novice Carrie Fisher was hired at the same age (19) her mother Debbie Reynolds was cast in Singin' In The Rain.
The Performance: Unlike the shrinking violets of B-movie sci-fi, Fisher's Princess won't get shit from anybody. Probably the fire is the actress' reaction to the indignity of having to put her hair into bagels and tape down her breasts. Her eventual reward? Flowing locks and a metal bikini.
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4. Clementine Kruczynski (Eternal Sunshine Of The Spotless Mind)
The Character: Rainbow-haired kook so impulsive she'll commit to wiping the memory of a bad romance, but so free-spirited she'll fall in love all over again to enjoy the Eternal Sunshine Of The Spotless Mind.
The Actress: Kate Winslet was already probably the great dramatic actress of her generation. Michel Gondry took one look, ditched the corset, dyed her hair and got her to funny up.
The Performance: A liberated Winslet gives more of herself to Clementine than any other role. Probably because, for once, the Titanic gal is waving not drowning. Her sheer force of personality turns Jim Carrey's memory wipe into an existential hell.
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3. Sarah Connor (Terminator)
The Character: Mulleted suburbanite, or heroine of the revolution? Amazing the effetimey-wimey shenanigans with a robotic killer and a hot stud from the future will do.
The Actress: Children of the Corn predated The Terminator, but Connor was the role that pushed Linda Hamilton into sci-fi aristocracy and a regular gig opposite Ron Perlman on TV's Beauty and the Beast.
The Performance: "Are you Sarah Connor?" By the end of The Terminator, Hamilton has left no doubt she's the legend of Earth's post-apocalyptic future. Even so, it's punch-the-air time when we find out just how bad-ass she's become in T2: Judgement Day. Sorry, Lena Headey.
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2. Annie Hall (Annie Hall)
The Character: The ultimate 'one that got away,' Annie's ditzy charm and Boho chic make her the most idealistic - but still realistic - of romcom women.
The Actress: A no-brainer. Not only was Diane Keaton Woody Allen's one-time lover and regular co-star, but he named the part after her (she was born Diane Hall).
The Performance: Woody Allen had originally intended to make a three hour drama called Anhedonia, but it quickly became clear that Keaton's charisma was driving the film into a tenderer, more romantic direction. The Academy agreed: Best Actress was in the bag.
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| King Kong |
The second oldest European-established city in the Americas, what is the capital and most populous city in Puerto Rico? | High Res Look at KING KONG and the T-Rex!
High Res Look at KING KONG and the T-Rex!
Published at: June 28, 2005, 5:09 p.m. CST by staff
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Under what pseudonym did Charles Lutwidge Dodgson write Alice's Adventures in Wonderland? | Lewis Carroll - Alice-in-Wonderland.net
Alice-in-wonderland.net
About Lewis Carroll
Pseudonym
The author of “Alice’s Adventures in Wonderland” and “Through the Looking Glass” is Lewis Carroll. This is an pseudonym; his real name was Charles Lutwidge Dodgson. (His last name is pronounced with a silent ‘g’.)
Dodgson first used ‘B.B.’ to sign his non-professional writings, but in March 1856, when he wanted to publish his poem ‘Solitude’ in the magazine “The Train”, Edmund Yates, a magazine editor, thought that this one was not appropriate. Then Dodgson came up with ‘Dares’ (from Daresbury in Cheshire, his birthplace), but that one was also rejected. Finally he invented Edgar Cuthwellis (composed from the letters of his name), Edgar U.C. Westhill (idem), Louis Carroll (he translated his name to Latin, and back: Lutwidge = Ludovic = Louis, Charles = Carolus) and Lewis Carroll (idem). Yates chose the last one.
For his learned mathematic books Dodgson used his own name.
Throughout this website I will use both names; when I’m talking about Carroll I am referring to his Alice books and when I call him Dodgson I’m talking about his private life.
The life of Dodgson
Dodgson was born on 27 January 1832 in the old parsonage at Daresbury, Cheshire. He was the 3rd child and eldest son of Reverend Charles Dodgson and Frances Jane Lutwidge (who were first cousins) and had 3 brothers and 7 sisters. He was very close and protective of them, especially the girls. Even as a child his talent was evident as he clearly enjoyed entertaining his brothers and sisters with stories and games.
At the time of his birth, his father, Dr. Dodgson, was the vicar of Daresbury, Cheshire (he later was presented with the Crown living of Croft, Yorkshire, and subsequently became Archdeacon of Richmond and one of the Canons of Ripon Cathedral), and was a distinguished scholar whose favorite study was mathematics.
In 1843 they moved to Croft, Yorkshire. At first, Charles was educated by his father. When he was twelve, he was sent to Mr. Tate’s School at Richmond. In 1846 Dodgson was enrolled at a boarding-school in Rugby where he had a miserable time because of his shyness and several illnesses.
In May 1850 he matriculated at Christ Church, Oxford, where he studied mathematics and took up residence as an undergraduate in January 1851. In 1854 Dodgson gained a 1st class degree in mathematics and one year later he was appointed lecturer in mathematics and Sub-Librarian at Christ Church. Dodgson was not a very inspiring teacher; it is said that his mathematical lessons were quite boring. He taught until 1881.
Dodgson was ordained a deacon in the Church of England on December 22, 1861. In 1898 he went to his sisters in Guildford, where he died of pneumonia on 14 January.
Religion
It is often said that Dodgson was a sincere Christian, although there is reason to believe that he had religious doubts. He was ordained a deacon in 1861. It was the rule on Christ Church that deacons should enter the priesthood (or else they’d loose their job), but Dodgson never did. It might have been because of his stammer, but we do not know for certain why the Dean let him get away with it. Dodgson never got married.
Physique
Dodgson stuttered and was asymmetric; his blue eyes were not at the same level and one shoulder was higher than the other. His smile was also slightly askew. He was deaf on one ear because of an illness when he was at Rugby School, suffered from insomnia and was very thin because he ate only one meal a day (he was a little obsessed with eating). According to most accounts he was six foot tall.
Personality
Dodgson was a very precise and punctual man who liked order (he made lists of all kinds of things and even kept track of menus in his diary, so that “people would not have the same dishes too frequently.”).
If something was not to his liking, Dodgson was likely to write a letter to the concerning person. He also satirized the academic politics of Oxford in articles, booklets, and leaflets. He felt that
by printing his arguments, rather than debating, he could logically arrange his arguments, and his stammer wouldn’t be a hindrance.
It is said that he also was prudish and very shy, and only at ease in the company of little girls, but this is not the case. Besides his child-friends, Dodgons also had many adult friends which he visited often. Some of these, like actrice Ellen Terry, were former child-friends. Their friendship endured, even though they had grown up.
He loved the company of children, whom he told many stories. He was especially fond of little girls, but it is not true that he disliked boys and babies. He had many child friends, although most of the time he did not keep them very long, and wrote them many letters. If he went on a train journey or to the beach, he always made sure that he had plenty of games and puzzles with him in case he met a new little girl. Alice Liddell was one of his favorite child-friends.
Hobbies and other pastimes
Dodgson was much more than only a mathematician or clergyman; he was a photographer, writer of books and many letters, pamphleteer, poet and inventor. He also was curator of the senior common room at Christ Church (from 1882 to 1892). He was fond of theatre and opera (although his church disapproved of it). He couldn’t endure it if people made jokes about God.
Dodgson was devoted to games as croquet, backgammon, billiards and chess, enjoyed conjuring and card tricks and invented many mathematical and word puzzles, games, ciphers and aids to memory. He was very interested in new inventions and invented many things himself, for example a tool for writing in the dark.
Dodgson read and possessed lots of books. He had a diary that consisted of 13 volumes. If he had a particularly lucky day he wrote ‘I mark this day with a white stone’.
He also liked writing letters, especially humorous letters to his child-friends. From January 1861 until his death in 1898 he kept a register of all the letters that he wrote. It consisted of 24 volumes and contains 98,721 letters!
Dodgson was very interested in photography; he took it up when it was still in its infancy (1856) and was one of the best amateur photographers of his time. He ceased photographing in 1880 for unknown reasons. It is said that he didn’t like the new process of developing the photo’s but that is not certain. He enjoyed sketching or photographing little girls in the nude, because he thought their naked bodies extremely beautiful, but he only did this with their mothers’ permission and if the children were completely at ease with it. He made sure that after his death the pictures would be burned or returned to the mothers. It should be noted that all Victorian artists did studies of child-nudes, which was a trendy subject for the time.
Other writings
In his life Dodsgon wrote many mathematical books, but also books for children. He even wrote mathematical books especially for little children! His most important work was ‘Euclid and his modern rivals’ (1879).
Some other work of his hand: ‘A syllabus of plane algebraical geometry’ (1860); ‘Guide to the mathematical student; elementary treatise on determinants’ (1867); ‘Curiosa mathematica’ (1888); ‘Symbolic logic’ (1896). For children he wrote ‘Phantasmagoria and other poems’ (1869); ‘The hunting of the snark’ (1876); ‘Rhyme? and reason?’ (1883); ‘A tangled tale’ (1885); ‘Sylvie and Bruno’ (1889); ‘Sylvie and Bruno concluded’ (1889).
The Alice books made from Dodgson the most quoted author, Shakespeare and the Bible excepted.
© Alice-in-Wonderland.net
| Lewis Carroll |
The worst civilian nuclear accident in US history, what Penn. power plant suffered a partial core meltdown in 1979? | Banned Books: Alice in Wonderland | From McFarlin Tower
Banned Books: Alice in Wonderland
Posted on 2014 February 5 by KristinaRosenthal
Alice in Wonderland or Alice’s Adventures in Wonderland is a novel published in 1865 written by Charles Lutwidge Dodgson under the pseudonym Lewis Carroll. “It tells of a girl named Alice who falls down a rabbit hole into a fantasy world populated by peculiar, anthropomorphic creatures. The tale plays with logic, giving the story lasting popularity with adults as well as with children” (literature.org). Alice in Wonderland has been adapted into many theatrical and screen versions, most famously, Walt Disney’s version produced in 1951. The novel was recently turned into a television series on ABC titled Once Upon a Time in Wonderland. The novel was also referred to in Jefferson Airplane’s famous song “White Rabbit” .
Although it is evident that the story has held popularity with children and adults for many years, Dodgson’s work has been challenged and banned multiple times since its publication. The novel is most often challenged for its alleged promotion of drug use. The most controversial scene takes place after Alice enters Wonderland and meets the philosophic caterpillar. The caterpillar sits atop a mushroom, smoking a hookah, offering Alice advice on how to find the white rabbit. He also provides Alice with a piece of the mushroom that will alter her size to help her on her journey. The presence of the hookah and the body altering and allegedly mind altering mushroom enraged academic institutions, parents, and religious groups. This outrage led to the book being banned in the United States during the 1960s.
In the early 1900s the state of New Hampshire banned the book from all public schools because the novel was accused of promoting sexual fantasies and masturbation. This accusation most likely refers to the questionable sexual activities of the author, not the novel’s content.
The novel has also been challenged for its use of talking animals, which were deemed an abomination in the sight of God by many religious institutions. In 1931 the Governor of the Hunan Province in China banned the book for the same reasons arguing that “animals should not use human language, and that it was disastrous to put animals and human beings on the same level”. This accusation is a common defense for censorship of books, as you will see in our next blog on Winnie the Pooh.
To read more on why Alice in Wonderland is on the American Library Association’s top 100 banned books list click here .
To see our exhibit featuring Alice in Wonderland visit the Department of Special Collections located on the 5th floor of McFarlin library, open to the public Monday-Friday 8-5.
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With an estimated worth of $2.1 billion (as of last year) what was the name of the richest man on Gilligan's Island? | The Forbes Fictional 15
The Forbes Fictional 15
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It’s a great time to be imaginary.
Global markets are rapidly recovering from the 2008 financial crisis, and so are the fortunes of the fictitious. There are six new characters on the 2010 edition of Fictional 15, our annual ranking of fiction’s richest, with an average net worth of $7.3 billion. In aggregate, the nine returning members are worth $79.8 billion, up 9% since we last checked in on them.
Topping the list this year is newcomer Carlisle Cullen , patriarch of the Cullen coven of vampires in the Twilight series of novels. Cullen, age 370, has accumulated a fortune of $34.1 billion–much of it from long-term investments made with the aid of his adopted daughter Alice, who picks stocks based on her ability to see into the future. Low-key and undead, Cullen has spent recent years posing as a mortal doctor in a small town in Washington State.
Chuck Bass , the brooding, manipulative heir to deceased New York real estate legend Bart Bass, makes his Fictional 15 debut this year with an estimated net worth of $1.1 billion. The Gossip Girl star and fashion icon (daywear, the three P’s: Purple, Plaid and Preppy; nightwear, the three V’s: vests, velvet and Valentino) recently sat for a Forbes Fictional Interview .
In Pictures: The Fictional 15
Also new to this year’s list: Sir Topham Hatt ($2 billion), the railroad tycoon from television’s Thomas The Tank Engine & Friends, Lucille Bluth ($950 million), the matron of the dysfunctional Bluth real estate family from Arrested Development, and the Tooth Fairy ($3.9 billion), who has blown several previous fortunes 50 cents at a time. Jay Gatsby , the shady Long Island dandy from F. Scott Fitzgerald’s The Great Gatsby, returns to the list after an absence of several years with a billion-dollar fortune.
Uncle Sam is the highest profile drop-off this year. The crusty frontiersman and former U.S. Army recruitment officer had the largest net worth swing in Fictional 15 history, from an estimate of “infinite” last year to less than a billion today. Yes, he has the ability to print money–literally–but how much exactly is that money worth? Gordon Gekko , the hero of the forthcoming Wall Street: Money Never Sleeps, drops off the list after a stint in federal lock-up. We also mourn the passing of Jabba the Hutt from the Star Wars universe. The crime lord was found dead late last year under salacious circumstances.
Fictional 15 perennials Scrooge McDuck ($33.5 billion) and Jed Clampett ($7.2 billion) had banner years, reflecting surging gold and oil prices respectively. Only Richie Rich ($11.5 billion) and Thurston Howell III ($2.1) billion have seen their fortunes decline over the past year.
To qualify for the Fictional 15, we require that candidates be an authored fictional creation, a rule which excludes mythological and folkloric characters. They must star in a specific narrative work or series of works. And they must be known, both within their fictional universe and by their audience, for being rich.
Net worth estimates are based on an analysis of the fictional character’s source material, and valued against known real-world commodity and share price movements. In the case of privately held fictional concerns, we sought to identify comparable fictional public companies. All prices are as of market close, April 12, 2010.
We reserve the right to bend or break any of our own rules–so yes, we know Uncle Sam and the Tooth Fairy are folkloric.
| Thurston Howell, III |
Next month sees the announcement of the 2011 Pulitzer Prizes. What Ivy League school administers the prize? | The Forbes Fictional 15
The Forbes Fictional 15
comments, called-out
It’s a great time to be imaginary.
Global markets are rapidly recovering from the 2008 financial crisis, and so are the fortunes of the fictitious. There are six new characters on the 2010 edition of Fictional 15, our annual ranking of fiction’s richest, with an average net worth of $7.3 billion. In aggregate, the nine returning members are worth $79.8 billion, up 9% since we last checked in on them.
Topping the list this year is newcomer Carlisle Cullen , patriarch of the Cullen coven of vampires in the Twilight series of novels. Cullen, age 370, has accumulated a fortune of $34.1 billion–much of it from long-term investments made with the aid of his adopted daughter Alice, who picks stocks based on her ability to see into the future. Low-key and undead, Cullen has spent recent years posing as a mortal doctor in a small town in Washington State.
Chuck Bass , the brooding, manipulative heir to deceased New York real estate legend Bart Bass, makes his Fictional 15 debut this year with an estimated net worth of $1.1 billion. The Gossip Girl star and fashion icon (daywear, the three P’s: Purple, Plaid and Preppy; nightwear, the three V’s: vests, velvet and Valentino) recently sat for a Forbes Fictional Interview .
In Pictures: The Fictional 15
Also new to this year’s list: Sir Topham Hatt ($2 billion), the railroad tycoon from television’s Thomas The Tank Engine & Friends, Lucille Bluth ($950 million), the matron of the dysfunctional Bluth real estate family from Arrested Development, and the Tooth Fairy ($3.9 billion), who has blown several previous fortunes 50 cents at a time. Jay Gatsby , the shady Long Island dandy from F. Scott Fitzgerald’s The Great Gatsby, returns to the list after an absence of several years with a billion-dollar fortune.
Uncle Sam is the highest profile drop-off this year. The crusty frontiersman and former U.S. Army recruitment officer had the largest net worth swing in Fictional 15 history, from an estimate of “infinite” last year to less than a billion today. Yes, he has the ability to print money–literally–but how much exactly is that money worth? Gordon Gekko , the hero of the forthcoming Wall Street: Money Never Sleeps, drops off the list after a stint in federal lock-up. We also mourn the passing of Jabba the Hutt from the Star Wars universe. The crime lord was found dead late last year under salacious circumstances.
Fictional 15 perennials Scrooge McDuck ($33.5 billion) and Jed Clampett ($7.2 billion) had banner years, reflecting surging gold and oil prices respectively. Only Richie Rich ($11.5 billion) and Thurston Howell III ($2.1) billion have seen their fortunes decline over the past year.
To qualify for the Fictional 15, we require that candidates be an authored fictional creation, a rule which excludes mythological and folkloric characters. They must star in a specific narrative work or series of works. And they must be known, both within their fictional universe and by their audience, for being rich.
Net worth estimates are based on an analysis of the fictional character’s source material, and valued against known real-world commodity and share price movements. In the case of privately held fictional concerns, we sought to identify comparable fictional public companies. All prices are as of market close, April 12, 2010.
We reserve the right to bend or break any of our own rules–so yes, we know Uncle Sam and the Tooth Fairy are folkloric.
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Komodo National Park, dedicated to protecting the largest lizard in the world, is in what country, the only known home of said reptile? | Dragon Island of Komodo | inRoutes
Dragon Island of Komodo
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Indonesia is a lush country in cultural and natural aspects and surprising by its exotic environments. The country, which is located in Southeast Asia, is the world’s largest archipelago with over 17,000 islands, is known for its beautiful beaches, and especially by one of the most beautiful places in the world, the island of Bali.
However, not only the natural beauties that compose Indonesia. The cultural riches are hallmarks of a country with over 250 million people, divided in more populated islands: Java, Sumatra, Kalimantan, Sulawesi, Maluku, Papua (Irian Jaya), Bali and Nusa Tenggara, among other islets.
Moreover, the people of Indonesia is multicultural (the country is home to more than a thousand ethnicities and sub-ethnicities), live in religious harmony (are six major recognized religions: Islam, Christianity, Protestantism, Buddhism, Hinduism, Confucianism) and is hospitable and friendly.
One of the many islands in Komodo region (Picture: Matheus Pinheiro de Oliveira e Silva)
Among this mix of attractions, we will take you to explore the region known for its quirky inhabitants, Komodo dragons that inhabit the islands of Komodo, Rinca and Flores region.
Labuan Bajo
Labuan Bajo is a fishing village and main gateway to the national parks which are the habitat of the most ancient reptiles, dinosaurs closest descendant, the Komodo dragons. The city has a small airport, 2 km from the center, and can be covered on foot in about 15 minutes.
The city boasts of hosting services ranging from simple hostels to four star hotels with spa and sustainable architecture.
Sunset in Labuan Bajo (Picture: Matheus Pinheiro de Oliveira e Silva)
The city has a port where tourists accompanied by guides, embark on boats towards the Komodo National Park for seeing the largest reptiles on earth, Komodo dragons.
Typical boat that takes tourists to Komodo National Park (Picture: Matheus Pinheiro de Oliveira e Silva)
The most common tour is done in two days, and one night the tourists are housed in boats. The service is comfortable and offers rooms with small beds, bathroom and food made by fishermen and locals with fresh ingredients. The staple food is seafood and rice.
Typical on board lunch (Picture: Matheus Pinheiro de Oliveira e Silva)
The ride is quiet and the mountains and beaches that surround the path impress by their hues. Upon arrival at Komodo National Park, tourist guide services already expect to guide visitors and make recommendations for prevention to prevent unexpected attacks of Komodo dragons.
The Komodo National Park was founded in 1980, in order to protect the Komodo dragon, the largest lizard in the world. Later, it was dedicated to protecting other local species, including marine. Only in 1991, the Park was declared a UNESCO World Heritage Site.
Also, by popular vote in 2011, the island of Komodo was declared one of the New Seven Wonders of Nature.
Sign indicating the entrance to the Komodo National Park (Picture: Matheus Pinheiro de Oliveira e Silva)
The region of the island of Komodo is one of the most arid regions of Indonesia, so a brief walk through the park will give you the feeling of being in the Jurassic Park movie.
This feeling will be higher when you come across a typical local resident, the Komodo dragon.
KOMODO DRAGON
The Komodo dragon is a species of reptile that has the appearance of dinosaur, can measure up to three meters long and weigh up to 100 kg. Your saliva contains many harmful bacteria and their bite is feared by all the natives, and their huge claws and tail.
They are carnivores and their favorite diet is carrion of animals in decomposition, which are located using the language to feel the odor, approximately more than 9 kilometers away, according to studies by biologists.
Komodo dragon lurking (Picture: Matheus Pinheiro de Oliveira e Silva)
In case of not finding any carrion, the Komodo dragon goes hunting, reaching up to 20 km/h, with his muscular legs.
But prefer to wait for the prey, patiently and make the ambush. If the prey is bitten by attacked serrated teeth of the dragon, even though she run away, will probably die of blood poisoning because of bacteria contained in the saliva of the reptile.
Carcasses of the victims of the Komodo dragon (Picture: Matheus Pinheiro de Oliveira e Silva)
Every care is essential to avoid unexpected attacks. The dragons are often taking a sunbathing because they are ectothermic, they depend on the heat of the external environment to regulate their body temperature.
Thus, it is not advisable that tourists get too close of imposing Komodo dragons are as real estate these occasions, because at any moment may feel threatened and attack people who approach.
Komodo dragon sunbathing (Picture: Matheus Pinheiro de Oliveira e Silva)
However, despite appearances, take a picture near the “dear” friend can be a great memory, since they do not catch you. Visitors should be aware of the of the guider orientation, who uses all the time a special wooden staff in case of unforeseen occur.
After finishing the tour in Komodo National Park the boat will return to Labuan Bajo. On the way to the final destination tourists are contemplated with the possibility to stop on an island for snorkeling, scuba diving in shallow waters to enjoy the marine fauna and flora.
One of the main places for snorkeling in Komodo (Picture: Matheus Pinheiro de Oliveira e Silva)
The beauties of Indonesia hold rare gems that deserve to be explored and the islands of Komodo, Rinca and Flores region are examples of the possibility of dazzle unique species such as Komodo dragons in their natural habitat. Certainly an experience for a lifetime!
ACCESS
The fastest route to get to Labuan Bajo is by plane, departing from Bali (Denpasar) or Mataram (Lombok) and there is also the possibility to go by ferry from Mataram to Komodo.
Airline companies that flights to Labuan Bajo:
Garuda Indonesia, Lion Air and Wings Air.
Prices and air rates vary according to the departing place, time of year and airline company. Prices may vary from US$ 180,00 to more than US$ 375,00.
Check out places to stay in nearby regions in our affiliate.
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What fictional town was home to Fred and Wilma Flintstone? | Komodo — Luxury Yacht Charter & Superyacht News
MERGUI ARCHIPELAGO YACHT CHARTERS ABOARD RAJA LAUT (OCTOBER-APRIL)
Embarking on a yacht charter vacation in the Mergui Archipelago you will enter a paradise of 800 almost deserted tropical islands, situated only 120 km north of Phuket in the Andaman Sea. This yachting heaven is often called the “lost world”, as for nearly 50 years the Mergui Archipelago has been prohibited to the outside world, frozen in time.
Luxury yacht charter aboard RAJA LAUT Yacht
The islands are renowned for their pristine white-sand beaches, awash with turquoise waters, surrounded by coral reefs, and a variety of landscapes and ecologies. Mergui Archipelago is an ideal destination for those who wish to completely abandon the busy and hectic everyday life and immerse their body and mind into the simple pleasures of this paradise, resulting in complete peace of mind and tranquility. Imagine kayaking in the stunning lagoons and mangroves, hiking in virgin jungle or snorkelling and diving over the coral reefs!
Encounters with Moken Sea Gypsies
Cruising the Merguis, you will encounter Moken Sea Gypsies, who are part of the ‘Sea Gypsies’ group of people of sea dwelling nomads found across Southeast Asia. Even though they have recently abandoned their traditional way of life and settled in a few villages across the Meguis Archipelago they remain mostly indifferent to visiting yachts. Some might approach your vessel and offer a gift, such a fish or a lobster, expecting a gift in return. Those that do not approach the vessels, wish to be left in peace.
Sailing Yacht RAJA LAUT
KOMODO YACHT CHARTER (MAY – SEPTEMBER)
Following her winter season in the Merguis, luxury charter yacht RAJA LAUT will move onto the Komodo National Park, where she will be available for the summer season. Komodo is renowned for its subtropical flora and fauna, with a unique natural and cultural diversity. Cruising the Komodo National Park you will come across ancient volcanos, emerald green waters, tribal rituals and the infamous Komodo dragons.
Aboard the beautiful RAJA LAUT yacht
Komodo National Park is on the UNESCO World Heritage list since 1991 and its islands are untouched by modern development. Underwater Komodo offers yacht charterers a diving paradise with some of the world’s most beautiful coral reefs.
Raja Laut superyacht
Lesser Sunda islands, is a cluster of islands situated east of Bali where you can engage in various exciting adventures such as climbing the rugged mountains or trekking through forests to bath under breath-taking waterfalls.
Whatever you choice of destination and the time of the year, Andaman Sea is a unique and amazing destination to visit aboard a luxury yacht. RAJA LAUT, a traditional gaff-rigged schooner, is a fabulous choice, as it offers the charm of the bygone era combined with the latest in comfort and technology.
RAJA LAUT yacht
For more information about chartering RAJA LAUT or SE Asia yacht charter vacations, don’t hesitate to get in touch with our brokers.
Sail Yacht ZEN - Salon and Bar
Sail Yacht ZEN - Formal Dining
Sail Yacht ZEN - Sunbeds on Deck
Sailing yacht ZEN was launched in 2013 as a result of collaboration between the Global Adventure Group, Sygmund Choren as well as Digital Effect Design Studio for interior. She perfectly captures the spirit of Indonesia and provides a unique opportunity to experience her beauty.
Sail Yacht ZEN - Master Cabin
Although boasting traditional Asian-boat styling, ZEN is furnished with the finest interior fittings and offers the best of amenities. There is plenty of space on board for her standing rig of two domineering fibre-carbon masts, topsails and four jibs, as well as spaces for her guests to relax or socialise. The running rig supports fabric carrying 650 square metres of sail, all flying over the dark-wood interior and golden teak decks.
Sail Yacht ZEN - Guest Cabin
The lay out provides superior deluxe accommodation in 7 staterooms for a total number of 16 charter guests. The spacious master suite spreads over two levels and has an adjoining children’s room for additional convenience and comfort. Furthermore, there are five guest staterooms featuring comfortable queen beds and luxurious amenities. Crew is accommodated in one Captain’s cabin and two crew cabins.
Sail Yacht ZEN - Guest Ensuite 2
Interior is decorated with beautiful sculptures and traditional ornaments as well as low relief carvings originating from the cultures of Asia, Polynesia and Maori Islands. Dark wooden interiors are lightened by bright furniture creating a pleasant and homely atmosphere. ZEN Yacht is a hand-made vessel representing centuries of priceless experience.
Sail Yacht ZEN - Sunbeds on deck
Guests can socialise in the spacious and inviting saloon and enjoy fabulous meals in the dining area, followed by a cocktail at the bar. There is also plenty of outdoor space for relaxation as well as al fresco dining.
Sail Yacht ZEN - On Charter
Great selection of water toys is also available aboard charter yacht ZEN. Charter guests have snorkelling & diving gear, jet skis, two Yamaha WaveRunners, water skis and wake boards at their disposal. Guests aboard can relax on board, enjoy the many water activities or spend their time on land, far away from tourist crowds.
Wonderful Indonesia – Komodo National Park_ Into The Heart of The Dragons
For more information and the detailed 10-day itinerary aboard sailing yacht ZEN, don’t hesitate to contact our brokers , today. CharterWorld is a company that works for you personally (not the yacht owner) and has your best interests at heart … as demonstrated by our customers’ feedback . We are the largest professional broker specialising in luxury yacht charters and we are the most dedicated.
INDONESIA SUPERYACHT CHARTER
Indonesia superyacht charter covers a huge area and equally huge amount of possibilities are there to choose from for the perfect yacht charter holiday. Indonesia archipelago is the largest group of islands in the world with endless coastlines to explore and endless miles to sail. The country’s cultural diversity is also very extensive and beautifully colourful, with about 500 languages and dialects spoken.
KOMODO YACHT CHARTER
Discover the world’s largest lizard and the most endangered animal only found in Indonesia – the Komodo Dragon, while on a Komodo yacht charter vacation cruising around the Komodo National Park – one of the UNESCO World Heritage Sites. For passionate scuba divers, Komodo Island should be on their list to visit, as the marine life is incredibly rich, boasting a spectacular coral reef. There are pristine sandy beaches with crystal clear water, where charter guests can enjoy some serious fun with water toys.
Komodo Dragon - Image credit to PilihKomodo
RAJA AMPAT PHINISI CHARTER
One of Indonesia’s prettiest archipelagos, Raja Ampat offers excellent possibilities for hiking, diving, cruising or simply relaxing on a beach. During a Raja Ampat phinisi charter you will have the opportunity to enjoy lovely natural waterfalls, local villages or set of on a bird watching experience in one of the rain forest jungles. Raja Ampat offers the richest coral reef ecosystem in the world and the surrounding waters host one of the richest varieties of marine species in the world.
Raja Ampat
PAPUA PHINISI CHARTER
The magnificent and remote Papua New Guinea is yet another astonishing place to visit aboard the ZEN yacht. Papua New Guinea Phinisi charter will open your doors to one of the most culturally diverse countries in the world; with over 850 indigenous languages spoken. Papua is one of the world’s least explored countries, culturally and geographically. An amazing and colourful place to visit for a unique charter holiday that will stay with you forever.
Sail Yacht ZEN - Salon
MORE INFORMATION on Luxury yacht ZEN
Indonesia is well known for the production of Schooners in the southernmost tip of the orchid-shaped island of Sulawesi. Some people say they are based on old Portuguese and Dutch vessels and others say the vessels are typical to the Konjo Builders, South Sulawesi. In Indonesia, people still call them Phinisi.
Yacht charterers can immerse themselves in the luxury on board superyacht ZEN, as well as spend time actively on land and in water, diving in the sea to admire one of the most beautiful coral reefs in the world… or simply unwind on virgin beaches, far away from tourist crowds.
The ZEN PHINISI YACHT is available for charter mostly in Indonesian waters – Komodo Archipelago, Raja Ampat, Papua; but Thailand , Myanmar and Andaman Islands as well. For more information on Indonesia luxury yacht charter and ZEN yacht contact our charter brokers here .
Aproaching an island - Image courtesy of yacht Raja Laut
SUMMER 2013 IN BORNEO AND PALAWAN
Borneo Yacht Charter
Borneo is one of the best destinations to escape to from a busy everyday life and enter a world that no one seems to know and fortunately only a few yachts visit. The island is divided among three countries: Brunei , Indonesia and Malaysia . Borneo is home to one of the oldest rain-forests in the world and surrounded by beautiful coral atolls, oceanic islands, beautiful beaches with pristine waters. It is also a perfect place for diving enthusiasts.
Cabin Interior
Palawan Yacht Charter
Palawan is a spectacular island province of the Philippines , stretching from Midoro in northeast to Borneo in southwest, named after its largest island, Palawan Island . Cruising around this area, you could encounter the endangered sea turtles nesting on white sand beaches or listen to the songs of more than 200 kinds of birds in forests and grasslands, while venturing out for a day trip of trekking and discovery. Palawan was also listed as one of the National Geographic’s top 20 destinations in the world.
Palawan
Palawan is also known as the “Last Ecological Frontier of the Philippines”. The northern part of Palawan province is surrounded with crystal-clear waters, pristine beaches, and a wealth of flora and fauna, where the charming El Nido can be found. Magnificent limestone cliffs tower over marine sanctuaries teeming with endless number of species of tropical fish and coral, as well as five species of endangered sea turtles. You will fall in love with the serenity of this place.
Wreck divers will find the Coron Bay extremely interesting, as wrecks here are in excellent condition and lie at depths that can be reached by sport divers. However, it is highly recommended that only experienced divers dive here and after careful planning.
RAJA LAUT luxury charter yacht
Luxury yacht Raja Laut is currently available for rent at EUR€ 24,500.00 − 29,400.00 per week plus expenses. To find our more about her exact charter schedule and to obtain additional information, please contact our brokers here .
RAJA LAUT Schooner
Luxury accommodation aboard phinisi yacht Silolona
Romantic evenings to be enjoyed while chartering yacht SILOLONA in Indonesia
Luxury charter phinisi Si Datu Bua yacht
Launched in 2012, the 40 metre sailing yacht Si Datu Bua , just like Silolona, was constructed using raw materials specially chosen with great attention to detail. Her interior boasts accessories and elements mirroring the rich cultural heritage and traditions of the Island of Sulawesi.
Luxury charter sailing yacht SI DATU BUA
Luxurious and elegant accommodation is provided to 6 charter guests in three beautifully appointed cabins with all the modern amenities a luxury sailing yacht should offer. Two master suites and one double cabin are available aboard this exceptional traditional phinisi vessel.
Luxury yacht Si Datu Bua - Traditional Phinisi Yacht - Indonesia
Traditional Phinis Si Datu Bua - Luxury charter yacht
Both of the spectacular and very unique charter yachts are available to take you, your friends, colleagues or family on a romantic journey following the ancient Spice Island Trade Routes.
Silolona yacht experience
Experience the Spice Islands chartering luxury Phinisi Silolona
From Papua, Raja Ampat and Banda to Sulawesi and the Komodo region, you will have the opportunity to sail to beautiful places of this spectacular archipelago to experience its rich history, culture and the traditions of its people. You have the opportunity to charter either of the vessels or, for larger groups, charter both Silolona and Si Datu Bua in a tandem yacht charter.
The image speaks for itself - Enjoy your stay aboard luxury yachts Silolona and Si Datu Bua
Sulawesi Yacht Charters
Located between Borneo and the Maluku Islands, the spectacular Sulawesi Island is one of the four larger Sunda Islands of Indonesia. Silolona or Si Datu Bua’s luxury charter guests have the opportunity to meet the Sulawesi people, well known for their diverse art abilities, including passion for pottery, silk and cotton weaving, as well as traditional or ceremonial dances.
Picnic on the beach - Silolona yacht
Raja Ampat Yacht Charters
The beautiful charter destination of Raja Ampat comprises of about 610 islands and her name means ‘Four Kings’ related to four islands: Salawati, Batabta, Waigeo and Misool. Sailing this breathtaking part of the world one will discover majestic limestone structures with plunging cliffs, crystal clear waters and pristine beaches.
Paradise on Earth - Spectacular charter vacation aboard Silolona
For the lovers of the underwater world, Raja Ampat boasts the greates and healthiest coral reef biodiversity of its size in the world.
Mouthwatering dishes - charter yacht Silolona
Komodo Yacht Charters
The Komodo Archipelago is known to attract for its turquoise waters and beautiful pink sand beaches and is an excellent destination to experience moments of unique adventure and fun. There is an array of secluded beaches with stunning coral reefs, marine reptiles, dolphins, whales, giant turtles and manta rays. Here you can find the largest land-dwelling reptile, the Komodo Dragon, about 3.13m long, whose footprints are often seen along the spectacular pink sandy beaches or on the hills.
Luxury yacht SILOLONA - Sunbathing
Banda Yacht Charters
The centre of the Spice Island trade and the original home of the stately nutmeg tree, Banda is a small island, where you can discover the world’s oldest nutmeg gardens, explore private colonial mansions as well as snorkel or dive the remarkable underwater gardens of the lava flows.
Great attention to detail to be found aboard Silolona yacht
Papua Yacht Charter
This tropical island is the home to the world’s second largest rain forest, beautiful beaches as well as a large number of rare species of wildlife, including the flightless cassowary and the amazing bird of paradise. There are over 2,700 species of orchids in Papua.
Experience Indonesia and the Spice Islands aboard the spectacular SILOLONA yacht
Savu Sea Charter
Chartering SILOLONA and Si Datu Bua Yachts , you will be taken into the enchanting world of Savu Sea, including Alor, Flores, Savu and Sumba. You will be greeted by volcanic crater lakes, enchanting harbour with traditional fishing crafts or if you prefer, secluded and tranquil bays where you can enjoy incomparable diving, sunbathing or other activities in the pristine waters.
Beautiful Indonesia and Silolona
INDONESIA is a truly one of a kind destination in the world. Discovering it aboard a traditional yet luxurious Phinisi Si Datu Bua or Silolona will transport you into the mysterious and magnificent ancient world of the Spice Islands with the magical romantic visions of large sailing ships, exotic sultans, the golden age of exploration and enigmatic jungle tribes.
Si Datu Bua yacht - a traditional Phinisi available for charter
If we have managed to capture you attention and you would like to find out more about the possibilities of chartering these spectacular and outstanding charter vessels, please do not hesitate to contact our friendly team here .
RAJA LAUT superyacht’s 2012 schedule
She is currently sailing around North Borneo and Palawan, before heading to her next destination.
Palawan is made up of 1,768 islands and is the second largest province of the Philippines. Sprawled beneath the seas are nearly 11,000 square kilometers of coral reefs. Myriads of fish swim in these underwater gardens and the Bacuit Archipelago, opposite the town of El Nido, is the Philippines’ most beautiful cruising area. The northern part of Borneo is bounded by 3 seas: the South China Sea, the Sulu Sea, and the Celebes Sea. Here you will find tropical islands, including coral atolls and oceanic islands, pristine beaches, crystal clear waters, giant rivers, dense tropical jungle, high mountains, and an abundance of nature & wildlife
Accommodation aboard luxury charter yacht RAJA LAUT
From May to September S/Y RAJA LAUT will charter from Bali to Komodo and Nusa Tengarra.
Sailing to Komodo and beyond you will cross the imaginary Wallace Line to discover a chain of hundreds of islands that include the Komodo National Park itself – where the flora and fauna of subtropical Asia make a sudden and dramatic change into those typical of Australasia. Blessed with stunning volcanic geography, fascinating cultures and natural diversity, there is nowhere in the world that can compare with the cruising to be experienced in the Komodo National Park and the Lesser Sunda Islands (also known as Nusa Tenggara).
Enjoy the surroundings on you RAJA LAUT yacht charter
October and December of 2012 are scheduled for West Papua charter destination
A real yacht charter frontier, West Papua and the islands of the Raja Ampat are known for their fascinating indigenous tribes, rugged terrain, impenetrable rainforests and exquisite, absolutely world-class scuba diving. At the heart of the Wallacea Triangle, this large area, much of which is still unexplored, offers the highest recorded marine diversity of anywhere in the entire world, for fish coral and invertebrates, with over 1,070 fish species, 537 coral species and 699 mollusc species.
RAJA LAUT Schooner
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Born on March 16, 1959, what rap star, a member of Public Enemy, and reality tv star (The Surreal Life, Strange Love, and others) is probably best known for wearing large clock dangling from his neck? | IMDb: Most Popular People With Biographies Matching "Prototype"
Most Popular People With Biographies Matching "Prototype"
1-50 of 133 names.
Sacha Baron Cohen
British actor and comedian Sacha Baron Cohen was born in Hammersmith, London. He is the son of Daniella (Weiser), a movement instructor, and Gerald Baron Cohen, a clothing store owner. His father, born in England and raised in Wales, was of Eastern European Jewish descent, while his mother was born in Israel, to German Jewish parents. He was educated at a private school, Haberdashers' Aske's Boys' School in Hertfordshire, and went on to read History at Christ's College, Cambridge. Baron Cohen had an interest in performing from an early age, forming a breakdancing group as a teenager and acting in amateur plays with a Jewish youth group. While at university he joined the Cambridge University Amateur Dramatic Club, and took part in such plays as "Cyrano de Bergerac" and "Fiddler on the Roof".
Upon leaving University, Baron Cohen briefly worked as a model, before moving on to work as a host on a satellite TV station. In 1995, Channel 4 put out an open call for new presenters, and Baron Cohen sent in a tape featuring himself in character as an Albania TV reporter (an early prototype for Borat). He was hired and worked on various 'youth TV' projects before, in 1998, appearing in The 11 O'Clock Show which became a cult hit thanks to his character, Ali G. Ali G proved so popular that a spin-off show Da Ali G Show and film Ali G Indahouse where produced.
John Cena
John Felix Anthony Cena, better known as WWE superstar John Cena, was born on April 23, 1977 in West Newbury, Massachusetts, to Carol (Lupien) and John Cena. He is of Italian (father) and French-Canadian and English (mother) descent, and is the grandson of baseball player Tony Lupien. When he was in college, he played football. He then continued on to be a bodybuilder and a limousine driver. The 6-foot-1 tall star weighs exactly at 240 pounds and is a very successful superstar in the WWE.
The Dr. of Thuganomics started training to be a wrestler at Ultimate Pro Wrestling where he also created the character, The Prototype. Cena first appeared on WWE in a match against Kurt Angle on the 27th of June, 2002 which ended up with him losing.
In 2004, John Cena's status as a celebrity began to develop. Cena won the United States Championship from Big Show. Not too long later, Cena lost the title but he gained it back soon. Cena then lost the title again to fellow WWE superstar, Carlito. During that time, Cena apparently got stabbed in the kidney by one of Carlito's bodyguards. This resulted in staying out of action for a month.
In 2005 and 2006 respectively, Cena was involved in controversies. He had a feud with champion John Bradshaw Layfield, manager Eric Bischoff and fellow wrestler Chris Jericho. Cena also had feuds with Edge and Umaga at that time. But even so, some friendships were formed. Cena is said to be friends with Carlito after they won a match with Jeff Hardy against Edge, Randy Orton and Johnny Nitro.
The year 2007 was a big year for Cena as he was involved in a wrestling match with Britney Spears' ex and rap star, Kevin Federline. John ended up losing that match thanks to some assistance from Umaga to Kevin Federline. Later that night, Cena took revenge by body slamming Kevin Federline backstage. The year 2007 also started pretty well for John Cena as he became the first person to defeat the Samoan Bulldozer, Umaga that year. The Chain Gang Soldier also teamed up with Shaun Michaels defeating the RKO tag team, Randy Orton and Edge. The match ended up with Cena and Michaels winning.
As of October 2007, Cena lost his WWE Championship title because of an injury. While wrestling against Mr. Kennedy, Cena tore his pectoral muscle while executing a hip toss. Although he finished the match and completed the rest of the scripted event, a check-up the next day showed that John's pectoral major muscle was torn completely from the bone, requiring seven months to a year rehabilitation. Not able to perform, WWE's CEO, Vince McMahon stripped him off the title and ended his reign.
In 2008, Cena made an unannounced return to action on January 27 as the final participant of the Royal Rumble match. He won the match, and the traditional WrestleMania title shot. Cena also had a match against JBL, which he defeated at Judgment Day and then at One Night Stand in a First Blood match. However, JBL defeated him at the New York City Parking Lot Brawl. In the month of August, Cena was replaced by Rey Mysterio after it was announced Cena had suffered a herniated disk in his neck which required surgery and he would be out of action indefinitely. According to reports, Cena underwent successive surgery to repair the herniated disk in his neck with Doctor Joseph Maroon on August 25.
Aside from wrestling, John has also made a name in the movie business. In 2006, a WWE franchise movie titled The Marine was released with John playing the lead character, John Triton. The movie received mixed reviews due to the poor story-line and discrimination to the US Marines. Even so, fans queued up to watch the movie as this was John's first big screen appearance.
The WWE wrestler also added recording artist to his resume as he released his debut rap album "You Can't See Me" which debuted at #15 on the US Billboard 200 chart. The album was recorded with his cousin Tha Trademarc. The album featured his entrance theme song, 'The Time Is Now' & a host of other singles performed by Cena. One of the songs he performed with popular rap band Estoric and a number of other songs Cena performed with famous rapper Bumpy Knuckles. Cena is the only professional wrestler to ever perform on BBC Two's long running TV show Top of the Pops.
While still active with WWE, Cena made a couple of guest appearances: Jimmy Kimmel Live! twice to promote his album. He has also appeared on popular shows like Late Night with Conan O'Brien, Fuse's Celebrity Playlist, Fox Sports Net's The Best Damn Sports Show Period, MADtv, G4's Training Camp and two appearances on MTV's Punk'd. He also served as a co-presenter, with Hulk Hogan, at the 2005 Teen Choice Awards, as a guest judge during the third week of the 2006 season of Nashville Star, and appeared at the 2007 Nickelodeon UK Kids Choice Awards 2007.
In fashion, The Champ has also made a few trademarks. Cena is often seen with knee-high denim jeans and throwback jerseys when he first started on WWE. Lately, Cena has been wearing a lot of Chain Gang merchandise. When his movie, The Marine was released, John was seen to be adding more military-inspired clothing to his outfit to promote his movie.
Cena graduated from Springfield College, Massachusetts with degrees in exercise physiology and human anatomy. He applied to 60 colleges and he got accepted by 58 of them but in the end, he chose Springfield College. He is the second eldest of five brothers and is said to be a family guy when he is not wrestling. His good friends are fellow wrestlers, John Hennigan, Batista, Randy Orton, Carlito, Jeff and Matt Hardy, whom he will have to fight.
John Cena is definitely going to be a big inspiration to all, whether in wrestling, fashion, music or even movies as his participation in the industry is already more than regular celebrity. With all he has achieved, fans can definitely expect to see more of this WWE superstar in the coming future.
Also, recently he has completed his new movie 12 Rounds produced by WWE Films. This movie was said to be completed when John suffered from his injury in 2007.
Heike Makatsch
Born on 13 August 1971 in Düsseldorf, Germany, as the daughter of former German national ice hockey keeper Rainer Makatsch. After studying politics and sociology at the University of Düsseldorf for two years and an apprenticeship as dressmaker, she was hired by newborn TV music channel VIVA in 1993 and hosted popular shows such as Interaktiv . Also presenting the charts show Bravo TV , the media considered her the prototype of a "girlie girl". Her first appearance in a movie, Jailbirds , surprised the critics and slowly changed her image. In the following years, she played leading characters in successful projects such as Am I Beautiful? and Gripsholm . Living in London from 1999 to 2005, she also appeared in English language movies, most prominently Love Actually . After another convincing performance on Margarete Steiff , she is considered a respected actress anyway. In 2009 she played the main role in 'Hilde', the biographical movie about the famous German actress/singer Hildegard Knef. Her performance was a tour de force.
Walt Disney
Walter Elias Disney was born on December 5, 1901 in Chicago, Illinois, the son of Flora Disney (née Call) and Elias Disney , a Canadian-born farmer and businessperson. He had Irish, German, and English ancestry. Walt moved with his parents to Kansas City at age seven, where he spent the majority of his childhood. At age 16, during World War I, he faked his age to join the American Red Cross. He soon returned home, where he won a scholarship to the Kansas City Art Institute. There, he met a fellow animator, Ub Iwerks . The two soon set up their own company. In the early 1920s, they made a series of animated shorts for the Newman theater chain, entitled "Newman's Laugh-O-Grams". Their company soon went bankrupt, however.
The two then went to Hollywood in 1923. They started work on a new series, about a live-action little girl who journeys to a world of animated characters. Entitled the "Alice Comedies", they were distributed by M.J. Winkler (Margaret). Walt was backed up financially only by Winkler and his older brother Roy O. Disney , who remained his business partner for the rest of his life. Hundreds of "Alice Comedies" were produced between 1923 and 1927, before they lost popularity.
Walt then started work on a series around a new animated character, Oswald the Lucky Rabbit. This series was successful, but in 1928, Walt discovered that M.J. Winkler and her husband, Charles Mintz , had stolen the rights to the character away from him. They had also stolen all his animators, except for Ub Iwerks . While taking the train home, Walt started doodling on a piece of paper. The result of these doodles was a mouse named Mickey. With only Walt and Ub to animate, and Walt's wife Lillian Disney (Lilly) and Roy's wife Edna Disney to ink in the animation cells, three Mickey Mouse cartoons were quickly produced. The first two didn't sell, so Walt added synchronized sound to the last one, Steamboat Willie , and it was immediately picked up. With Walt as the voice of Mickey, it premiered to great success. Many more cartoons followed. Walt was now in the big time, but he didn't stop creating new ideas.
In 1929, he created the 'Silly Symphonies', a cartoon series that didn't have a continuous character. They were another success. One of them, Flowers and Trees , was the first cartoon to be produced in color and the first cartoon to win an Oscar; another, Three Little Pigs , was so popular it was often billed above the feature films it accompanied. The Silly Symphonies stopped coming out in 1939, but Mickey and friends, (including Minnie Mouse, Donald Duck, Goofy, Pluto, and plenty more), were still going strong and still very popular.
In 1934, Walt started work on another new idea: a cartoon that ran the length of a feature film. Everyone in Hollywood was calling it "Disney's Folly", but Snow White and the Seven Dwarfs was anything but, winning critical raves, the adoration of the public, and one big and seven little special Oscars for Walt. Now Walt listed animated features among his ever-growing list of accomplishments. While continuing to produce cartoon shorts, he also started producing more of the animated features. Pinocchio , Dumbo , and Bambi were all successes; not even a flop like Fantasia and a studio animators' strike in 1941 could stop Disney now.
In the mid 1940s, he began producing "packaged features", essentially a group of shorts put together to run feature length, but by 1950 he was back with animated features that stuck to one story, with Cinderella , Alice in Wonderland , and Peter Pan . In 1950, he also started producing live-action films, with Treasure Island . These began taking on greater importance throughout the 50s and 60s, but Walt continued to produce animated features, including Lady and the Tramp , Sleeping Beauty , and 101 Dalmatians .
In 1955, he even opened a theme park in southern California: Disneyland. It was a place where children and their parents could take rides, just explore, and meet the familiar animated characters, all in a clean, safe environment. It was another great success. Walt also became one of the first producers of films to venture into television, with his series Walt Disney's Wonderful World of Color which he began in 1954 to promote his theme park. He also produced The Mickey Mouse Club and Zorro . To top it all off, Walt came out with the lavish musical fantasy Mary Poppins , which mixed live-action with animation. It is considered by many to be his magnum opus. Even after that, Walt continued to forge onward, with plans to build a new theme park and an experimental prototype city in Florida.
He never did finish those plans, however; in 1966, he developed lung cancer brought on by his lifelong chain-smoking. He died in the hospital on December 15, 1966 at age 65. But not even his death, it seemed, could stop him. Roy carried on plans to build the Florida theme park, and it premiered in 1971 under the name Walt Disney World. What's more, his company continues to flourish, still producing animated and live-action films and overseeing the still- growing empire started by one man: Walt Disney, who will never be forgotten.
Gina Lollobrigida
Gina Lollobrigida was born on July 4, 1927 in Subiaco, Italy. Destined to be called "The Most Beautiful Woman in the World", Gina possibly had St. Brigid as part of her surname. She was the daughter of a furniture manufacturer, and grew up in the pictorial mountain village. The young Gina did some modeling and, from there, went on to participate successfully in several beauty contests. In 1947, she entered a beauty competition for Miss Italy, but came in third. The winner was Lucia Bosé (born 1931), who would go on to appear in over 50 movies, and the first runner-up was Gianna Maria Canale (born 1927), who would appear in almost 50 films. After appearing in a half-dozen films in Italy, it was rumored that, in 1947, film tycoon Howard Hughes had her flown to Hollywood; however, this did not result in her staying in America, and she returned to Italy (her Hollywood breakout movie would not come until six years later in the John Huston film Beat the Devil ).
Back in Italy, in 1949, Gina married Milko Skofic , a Slovenian (at the time, "Yugoslavian") doctor, by whom she had a son, Milko Skofic Jr. They would be married for 22 years, until their divorce in 1971. As her film roles and national popularity increased, Gina was tagged "The Most Beautiful Woman in the World", after her signature movie Beautiful But Dangerous . Gina was nicknamed la "Lollo", as she embodied the prototype of Italian beauty. Her earthy looks and short "tossed salad" hairdo were especially influential and, in fact, there's a type of curly lettuce named "Lollo" in honor of her cute hairdo. Her film Come September , co-starring Rock Hudson , won the Golden Globe Award as the World's Film Favorite. In the 1970s, Gina was seen in only a few films, as she took a break from acting and concentrated on another career: photography. Among her subjects were Paul Newman , Salvador Dalí and the German national soccer team.
A skilled photographer, Gina had a collection of her work "Italia Mia", published in 1973. Immersed in her other passions (sculpting and photography), it would be 1984 before Gina would grace American television on Falcon Crest . Although Gina was always active, she only appeared in a few films in the 1990s. In June 1999, she turned to politics and ran, unsuccessfully, for one of Italy's 87 European Parliament seats, from her hometown of Subiaco. Gina was also a corporate executive for fashion and cosmetics companies. As she told "Parade" magazine in April 2000: "I studied painting and sculpting at school and became an actress by mistake". (We're glad she made that "mistake"). Gina went on to say: "I've had many lovers and still have romances. I am very spoiled. All my life, I've had too many admirers".
Timothy Bottoms
From a talented acting generation of brothers, Timothy James Bottoms, who was this close to out-and-out super-stardom in the 1970s, is the oldest of four acting siblings. All four boys were born in Santa Barbara, California (Timothy on August 30, 1951; some sources indicate 1950), as children of James "Bud" Bottoms, a sculptor and high school art teacher, and his wife Betty. Artistic expression was certainly encouraged in this family and Timothy expressed an avid interest, even during his preschool years, of wanting to perform. Raised in Santa Barbara, he was a member of the Youth Theater Productions at school and in 1967 toured Europe along with the Santa Barbara Madrigal Society, which sealed his aspirations.
Following high school, Timothy was spotted by Universal in a stage production of "Romeo and Juliet" and chosen (with no prior film experience) for a lead part in director Dalton Trumbo 's Johnny Got His Gun . As Joe, a young American soldier who is shelled and left armless and legless on the last day of World War I, Timothy received excellent reviews and earned a Golden Globe nomination as "Most Promising Newcomer." His next starring role propelled him into the top leagues. Cast as aimless Texas-boy "Sonny," the sensitive, mournful-eyed, youthful focus of Peter Bogdanovich 's downbeat Oscar winner The Last Picture Show , the film went on to make full-fledged stars not only of Timothy, but of Jeff Bridges and Cybill Shepherd . Younger brother Sam, who frequently visited the set, wound up touchingly cast as another young but ill-fated character.
The early 1970s was a time of great personal accomplishments for Bottoms in film. Engagingly maladroit and looking slightly uncomfortable in his own skin, he proved that his first reviews were no flukes. He appeared to great advantage in the touching drama Love and Pain and the Whole Damn Thing opposite British acting doyenne Maggie Smith and as the tousle-haired college protagonist in the coming-of-age box-office hit The Paper Chase . In an effort to break free of his sensitive prototype, he delved into stranger, darker characters with The Crazy World of Julius Vrooder and Rollercoaster . These efforts were less successful, however, and he quickly began to discover his film career slipping away at the early age of 26.
Outgrowing his awkward adorableness, he shifted to the smaller screen in order to secure challenging roles, such as the biblical lead in The Story of David ; his ex-convict in A Small Town in Texas ; his bank teller in Arthur Hailey's the Moneychangers ; his fatally-stricken track runner in A Shining Season , and the Raymond Massey role (in which he aged 30 years) in the ambitious mini-series East of Eden , with brother Sam recreating the James Dean part.
Timothy's success certainly encouraged his younger siblings. By this time Joseph, Sam and Ben were were all experiencing significant lifts in their own respective careers. As a group, the four brothers hooked up together for the TV movie Island Sons , in which they all played brothers and used their real first names. The movie was promoted as a pilot for an upcoming weekly series, but it failed to make the grade. While Timothy continued to work steadily throughout the 1980s and 1990s, the quality of material he was given grew more standard. Roles in such films as Invaders from Mars , The Drifter and the foreign-made Istanbul did little to reignite his earlier success. A sequel to his famous "The Last Picture Show", entitled Texasville , could have had heads turning but the movie decided instead to focus instead on Jeff Bridges (who at this juncture was a big name star) while Timothy's character was given short shrift with what was essentially a cameo.
Into the millennium Timothy had a slight taste of his former glory while showing a keen talent for parody with his uncanny impersonation of president George W. Bush. Who would have thought? Bottoms' dead-on spoof on That's My Bush! , courtesy of the creators of "South Park", led to a brief Bush cameo in the family film The Crocodile Hunter: Collision Course and the much more serious TV-movie DC 9/11: Time of Crisis . Interestingly, Timothy needed little in the way of prosthetics. He simply parted his hair differently, added a bit of a drawl and imitated his walk!
The still boyish-looking actor with that same trickle of sadness and discomfort has worked continuously for the past thirty years and appeared in over 65 films. Of late he has shined in small independent features such as with his dysfunctional father in Gus Van Sant Elephant , which chronicled a Columbine High School-like massacre, and his closer-to-home portrayal as a middle-aged actor in search of his early fame in Paradise, Texas . More recently is a role in the remake of Jack London 's Call of the Wild .
Timothy's marriage to folk singer Alicia Cory from 1975 to 1978, produced son Bartholomew. He has three other children (Benton, William, Bridget) with current wife (since 1984) Marcia Morehart. Bottoms divides his time between his acting work and his other great love of training wild horses at his two ranches near Big Sur, California. On the sly he has worked as a surveyor's assistant. While two of his brothers, Joseph and Ben, have virtually abandoned their film careers for satisfying lives outside the Hollywood realm, Sam died at 53 of brain cancer. Timothy continues to pursue his Hollywood career decided to venture on.
Bruce Davison
With his blond, clean-cut, Ivy League handsomeness and ready-whipped smile reminiscent of Kennedyesque times, actor Bruce Davison fits the prototype of today's more current crop of fresh-faced, likable blonds such as Brian Kerwin and Aaron Eckhart . While it proved difficult at times for the actor to get past those perfect features and find meatier roles, his talent certainly overcame the "handicap". Extremely winning and versatile, the award-worthy actor, now enjoying an over four decade career, has included everything from Shakespeare to Seinfeld. He has also served as a writer, producer and director on an infrequent basis.
Born on June 28, 1946, in Philadelphia, Pennsylvanis, the son of Clair, an architect and musician, and Marian (Holman) Davison, a secretary, Bruce's parents divorced when he was just three. He developed a burgeoning interest in acting while majoring in art at Penn State and after accompanying a friend to a college theater audition. Making his professional stage debut in 1966 as Jonathan in "Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feelin' So Bad" at the Pennsylvania Festival Theatre, he had made it to Broadway within just a couple of years (1968) in the role of Troilus in "Tiger at the Gates" at the Vivian Beaumont Theatre. The year after that he was seen off-Broadway in "A Home Away from Home" and appeared at the Lincoln Center in the cast of "King Lear".
Success in the movies came immediately for the perennially youthful-looking actor after he and a trio of up-and-coming talents ( Barbara Hershey [then known as Barbara Seagull], Richard Thomas and Catherine Burns ) starred together in the poignant but disturbing coming-of-age film Last Summer . From this he was awarded a starring role opposite Kim Darby in The Strawberry Statement , an offbeat social commentary about 60s college radicalism, and in the cult horror flick Willard in which he bonded notoriously with a herd of rats.
Moving further into the 70s decade, his film load did not increase significantly as expected and the ones he did appear in were no great shakes. With the exception of his co-starring role alongside Burt Lancaster in the well-made cavalry item Ulzana's Raid and the powerful low-budget Short Eyes in which he played a child molester, Bruce was surprisingly ill-used or underused. Insignificant as the elder Patrick Dennis in the inferior Lucille Ball musical film version of Mame , he was just as overlooked in such movies as The Jerusalem File , Mother, Jugs & Speed , Grand Jury and Brass Target . Bruce wisely looked elsewhere for rewarding work and found it on the stage and on the smaller screen. Earning strong theatrical roles in "The Skin of Our Teeth," "The Little Foxes" and "A Life in the Theatre," he won the Los Angeles Drama Critics Award for his work in "Streamers" in 1977. On TV, he scored in mini-movie productions of Mourning Becomes Electra , Deadman's Curve (portraying Dean Torrence of the surf-era pop duo Jan and Dean) and, most of all, Summer of My German Soldier co-starring Kristy McNichol as a German prisoner of war in the American South who falls for a lonely Jewish-American girl. In 1972 Bruce married actress Jess Walton who appeared briefly as a college student in The Strawberry Statement and later became a daytime soap opera fixture. The marriage was quickly annulled the following year.
The 1980s was also dominated by strong theater performances. Bruce took over the role of the severely deformed John Merrick as "The Elephant Man" on Broadway; portrayed Clarence in "Richard III" at the New York Shakespeare Festival; was directed by Henry Fonda in "The Caine Mutiny Court Martial"; played a moving Tom Wingfield opposite Jessica Tandy 's Amanda in "The Glass Menagerie"; received a second Los Angeles Drama Critics Award for his work in the AIDS play "The Normal Heart"; and finished off the decade gathering up fine reviews in the amusing A.R. Gurney period piece "The Cocktail Hour". While hardly lacking for work on film ( Kiss My Grits , Crimes of Passion , Spies Like Us , and The Ladies Club ), few of them made use of his talents and range. It was not until he was cast in the ground-breaking gay drama Longtime Companion that his film career revitalized. Giving a quiet, finely nuanced, painfully tender performance as the middle-aged lover and caretaker of a life partner ravaged by AIDS, Bruce managed to stand out amid the strong ensemble cast and earn himself an Oscar nomination for "Best Supporting Actor". Although he lost out to the flashier antics of Joe Pesci in the mob drama Goodfellas that year, Bruce was not overlooked -- copping Golden Globe, Independent Spirit, New York Film Critics and National Society of Film Critics awards. Other gay-themed films also welcomed his presence, including The Cure and It's My Party . The actor eventually served as a spokesperson for a host of AIDS-related organizations, including Hollywood Supports, and, elsewhere, is active with foundations that help children who are abused.
Bruce has been all over the screen since his success in Longtime Companion . Predominantly seen as mature, morally responsible dads and politicians, his genial good looks and likability have on occasion belied a weak or corrupt heart. Bruce married actress Lisa Pelikan in 1986 (well over a decade after his first marriage ended) and they have one son, Ethan, born in 1996. The handsome couple became well known around town and worked frequently together on stage ("The Downside," "Love Letters," "Breaking the Silence," "To Kill a Mockingbird") and in TV movies ( Color of Justice ). Bruce's more popular films these days have included Six Degrees of Separation starring Will Smith , the family adventure film Far from Home: The Adventures of Yellow Dog and the box-office hit X-Men and its sequel in the role of Senator Kelly. More controversial art-house showcases include Dahmer , as serial killer Jeffrey Dahmer's father, and Hate Crime , as a bigoted, murderous pastor.
Bruce has attempted TV series leads in later years. With Harry and the Hendersons , he ably directed a number of the show's episodes. He has also been tapped for recurring parts on The Practice and The L Word , and is fondly remembered for his comedy episodes on Seinfeld as an attorney who goes for George's ( Jason Alexander ) throat when George's fiancée dies inexplicably of toxic poisoning. The actor recently completed a TV series revival of Knight Rider .
Divorced from Lisa Pelikan , Bruce is married these days to third wife Michele Correy and has a daughter by her, Sophia, born in 2006. They live in the Los Angeles area.
Victor French
Victor French was the son of a stuntman. His debut was a small role in Lassie , uncredited. He had his first real acting experiences in western-films, where he usually played the "bad guy" due to his rather gruff look. This changed with Little House on the Prairie , (as Isaiah Edwards). In 1977, he left Little House on the Prairie to play in his own sitcom Carter Country , which lasted for two seasons. French then teamed up again with Michael Landon in Highway to Heaven , as (Mark Gordon). French, along with Leonard Nimoy , founded LA's "Company of Angels", one of the area's earliest attempts to establish LA as a type of "Off-Broadway-West Coast". Its limited seating arrangement (99 seats) served as the prototype of LA's Equity-Waiver code. After he left the company in the mid 1970s, he went on to teach acting privately. He was well sought-after, and it became apparent that he had to take students on "by referral only". His philosophy and style was gentle and encouraging to young actors just entering the field. He directed in LA Theaters and won the Critics Circle Award for "12 Angry Men." In the 1980s, he declined to play "bad guys." Victor French died 1989 after finishing the last episode of Highway to Heaven .
Adam Savage
Adam Savage started his varied career as a child actor. His father worked on Sesame Street as a Muppeteer and he learned very early on about 'behind the scene' work on a television show. He appeared in some episodes of Sesame Street. Later on, as a teenager, he starred in the Billy Joel video for "Second Wind" and a Charmin toilet paper commercial with Mr. Whipple as Jimmy the stock boy.
Adam has worked as an interior designer, a set designer for the Fool's Fury playhouse in San Francisco, and an artist. His artwork has been displayed in San Francisco, New York and Charleston, West Virginia. He also worked in toy prototyping, working in research and development for Zoob toys, and designing several displays and a large "Zoob Dude" model for them. Adam has worked on many TV commercials for Pizza Hut, Burger King and Coca-Cola, among others. He designed his own robot for Battlebots, "Claymore".
However, Adam is best known for his work in Sci-Fi movies and of course, MythBusters . He was employed by George Lucas ' special effects shop, Industrial Light and Magic, working with Tory Belleci and Grant Imahara . He has worked on Space Cowboys , Galaxy Quest , Star Wars: Episode I - The Phantom Menace , Star Wars: Episode II - Attack of the Clones , The Matrix Reloaded , The Matrix Revolutions and Bicentennial Man , among others. In 2002, Adam and Jamie Hyneman , long time collaborators on various projects, including the BattleBots robot Blendo, got together to film 3 pilot episodes for Mythbusters. The rest is history. Adam plays around with heavy machinery, indulges in building elaborate rigs, and gets to blow stuff up - always putting his body on the line for the show. He has donated every body fluid imaginable for scientific testing in the course of the show, and has taken many hits for the team. He provides much of the 'comic relief' to co-host Hyneman's 'straight-man' persona.
Adam is the father of twin sons!
Frank Capra
One of seven children, Frank Capra was born on May 18, 1897, in Bisacquino, Sicily. On May 10, 1903, his family left for America aboard the ship Germania, arriving in New York on May 23rd. "There's no ventilation, and it stinks like hell. They're all miserable. It's the most degrading place you could ever be," Capra said about his Atlantic passage. "Oh, it was awful, awful. It seems to always be storming, raining like hell and very windy, with these big long rolling Atlantic waves. Everybody was sick, vomiting. God, they were sick. And the poor kids were always crying."
The family boarded a train for the trip to California, where Frank's older brother Benjamin was living. On their journey, they subsisted on bread and bananas, as their lack of English made it impossible for them to ask for any other kind of foodstuffs. On June 3, the Capra family arrived at the Southern Pacific station in Los Angeles, at the time, a small city of approximately 102,000 people. The family stayed with Capra's older brother Benjamin, and on September 14, 1903, Frank began his schooling at the Castelar Elementary school.
In 1909, he entered Los Angeles' Manual Arts High School. Capra made money selling newspapers in downtown L.A. after school and on Saturdays, sometimes working with his brother Tony. When sales were slow, Tony punched Frank to attract attention, which would attract a crowd and make Frank's papers sell quicker. Frank later became part of a two-man music combo, playing at various places in the red light district of L.A., including brothels, getting paid a dollar per night, performing the popular songs. He also worked as a janitor at the high school in the early mornings. It was at high school that he became interested in the theater, typically doing back-stage work such as lighting.
Capra's family pressured him to drop out of school and go to work, but he refused, as he wanted to partake fully of the American Dream, and for that he needed an education. Capra later reminisced that his family "thought I was a bum. My mother would slap me around; she wanted me to quit school. My teachers would urge me to keep going....I was going to school because I had a fight on my hands that I wanted to win."
Capra graduated from high school on January 27, 1915, and in September of that year, he entered the Throop College of Technology (later the California Institute of Technology) to study chemical engineering. The school's annual tuition was $250, and Capra received occasional financial support from his family, who were resigned to the fact they had a scholar in their midst. Throop had a fine arts department, and Capra discovered poetry and the essays of Montaigne, which he fell in love with, while matriculating at the technical school. He then decided to write.
"It was a great discovery for me. I discovered language. I discovered poetry. I discovered poetry at Caltech, can you imagine that? That was a big turning point in my life. I didn't know anything could be so beautiful." Capra penned "The Butler's Failure," about an English butler provoked by poverty to murder his employer, then to suicide."
Capra was singled out for a cash award of $250 for having the highest grades in the school. Part of his prize was a six-week trip across the U.S. and Canada. When Capra's father, Turiddu, died in 1916, Capra started working at the campus laundry to make money.
After the U.S. Congress declared War on Germany on April 6, 1917, Capra enlisted in the Army, and while he was not a naturalized citizen yet, he was allowed to join the military as part of the Coastal Artillery. Capra became a supply officer for the student soldiers at Throop, who have been enrolled in a Reserve Officers Training Corps program. At his enlistment, Capra discovered he was not an American citizen; he became naturalized in 1920.
On September 15, 1918, Capra graduated from Throop with his bachelor's degree, and was inducted into the U.S. Army on October 18th and shipped out to the Presidio at San Francisco. An armistice ending the fighting of World War One would be declared in less than a month. While at the Presidio, Capra became ill with the Spanish influenza that claimed 20 million lives worldwide. He was discharged from the Army on December 13th and moved to his brother Ben's home in L.A. While recuperating, Capra answered a cattle call for extras for John Ford 's film "The The Outcasts of Poker Flat (Capra, cast as a laborer in the Ford picture, introduced himself to the film's star, Harry Carey . Two decades later, Capra, designated the #1 director in Hollywood by "Time" magazine, would cast Carey and his movie actress wife Olive in Mr. Smith Goes to Washington for which Carey won a Best Supporting Actor Oscar nomination).
While living at his mother's house, Capra took on a wide variety of manual laboring jobs, including errand boy and ditch digger, even working as an orange tree pruner at 20 cents a day. He continued to be employed as an extra at movie studios and as a prop buyer at an independent studio at Sunset Boulevard and Gower Street, which later became the home of Columbia Pictures, where Capra would make his reputation as the most successful movie director of the 1930s. Most of his time was spent unemployed and idle, which gave credence to his family's earlier opposition to him seeking higher education. Capra wrote short stories but was unable to get them published. He eventually got work as a live-in tutor for the son of "Lucky" Baldwin, a rich gambler. (He later used the Baldwin estate as a location for Dirigible ).
Smitten by the movie bug, in August of that year, Capra, former actor W. M. Plank, and financial backer Ida May Heitmann incorporated the Tri-State Motion Picture Co. in Nevada. Tri-State produced three short films in Nevada in 1920, Don't Change Your Husband , The Pulse of Life , and The Scar of Love (1920), all directed by Plank, and possibly based on story treatments written by Capra. The films were failures, and Capra returned to Los Angeles when Tri-State broke up. In March 1920, Capra was employed by CBC Film Sales Co., the corporate precursor of Columbia Films, where he also worked as an editor and director on a series called "Screen Snapshots." He quit CBC in August and moved to San Francisco, but the only jobs he could find were that of bookseller and door-to-door salesman. Once again seeming to fulfill his family's prophecy, he turned to gambling, and also learned to ride the rails with a hobo named Frank Dwyer. There was also a rumor that he became a traveling salesman specializing in worthless securities, according to a "Time" magazine story "Columbia's Gem" (August 8, 1938 issue, V.32, No. 6).
Still based in San Francisco in 1921, producer Walter Montague hired Capra for $75 per week to help direct the short movie The Ballad of Fisher's Boarding House , which was based on a poem by Rudyard Kipling . Montague, a former actor, had the dubious idea that foggy San Francisco was destined to become the capital of movies, and that he could make a fortune making movies based on poems. Capra helped Montague produced the one-reeler, which was budgeted at $1,700 and subsequently sold to the Pathe Exchange for $3,500. Capra quit Montague when he demanded that the next movie be based upon one of his own poems.
Unable to find another professional filmmaking job, Capra hired himself out as a maker of shorts for the public-at-large while working as an assistant at Walter Ball's film lab. Finally, in October 1921, the Paul Gerson Picture Corp. hired him to help make its two-reel comedies, around the time that he began dating the actress Helen Edith Howe, who would become his first wife. Capra continued to work for both Ball and Gerson, primarily as a cutter. On November 25, 1923, Capra married Helen Howell, and the couple soon moved to Hollywood.
Hal Roach hired Capra as a gag-writer for the "Our Gang" series in January, 1924. After writing the gags for five "Our Gang" comedies in seven weeks, he asked Roach to make him a director. When Roach refused (he somewhat rightly felt he had found the right man in director Bob McGowan ), Capra quit. Roach's arch rival Mack Sennett subsequently hired him as a writer, one of a six-man team that wrote for silent movie comedian Harry Langdon , the last major star of the rapidly disintegrating Mack Sennett Studios, and reigning briefly as fourth major silent comedian after Charles Chaplin , Buster Keaton , and Harold Lloyd . Capra began working with the Harry Langdon production unit as a gag writer, first credited on the short Plain Clothes .
As Harry Langdon became more popular, his production unit at Sennett had moved from two- to three-reelers before Langdon, determined to follow the example of Chaplin, Keaton, and Lloyd, went into features. After making his first feature-length comedy, His First Flame for Sennett, Langdon signed a three-year contract with Sol Lesser 's First National Pictures to annually produce two feature-length comedies at a fixed fee per film. For a multitude of reasons Mack Sennett was never able to retain top talent. On September 15, 1925, Harry Langdon left Sennett in an egotistical rage, taking many of his key production personnel with him. Sennett promoted Capra to director but fired him after three days in his new position. In addition to the Langdon comedies, Capra had also written material for other Sennett films, eventually working on twenty-five movies.
After being sacked by Sennett, Capra was hired as a gag-writer by Harry Langdon , working on Langdon's first First National feature-length film, Tramp, Tramp, Tramp . The movie was directed by Harry Edwards who had directed all of Harry Langdon 's films at Sennett. His first comedy for First National, Tramp, Tramp, Tramp did well at the box office, but it had ran over budget, which came out of Langdon's end. Harry Edwards was sacked, and for his next picture, The Strong Man , Langdon promoted Capra to director, boosting his salary to $750 per week. The movie was a hit, but trouble was brewing among members of the Harry Langdon company. Langdon was increasingly believing his own press.
His marriage with Helen began to unravel when it is discovered that she had a life-threatening ectopic pregnancy that had to be terminated. In order to cope with the tragedy, Capra became a work-a-holic while Helen turned to drink. The deterioration of his marriage was mirrored by the disintegration of his professional relationship with Harry Langdon during the making of the new feature, Long Pants .
The movie, which was released in March 1927, proved to be Capra's last with Harry Langdon , as the comedian soon sacked Capra after its release. Capra later explained the principle of Langdon comedies to James Agee , "It is the principal of the brick: If there was a rule for writing Langdon material, it was this: his only ally was God. Harry Langdon might be saved by a brick falling on a cop, but it was verboten that he in any way motivated the bricks fall."
During the production of Long Pants , Capra had a falling out with Langdon. Screenwriter Arthur Ripley 's dark sensibility did not mesh well with that of the more optimistic Capra, and Harry Langdon usually sided with Ripley. The picture fell behind schedule and went over budget, and since Langdon was paid a fixed fee for each film, this represented a financial loss to his own Harry Langdon Corp. Stung by the financial set-back, and desiring to further emulate the great Chaplin, Harry Langdon made a fateful decision: He fired Capra and decided to direct himself. (Langdon's next three movies for First National were dismal failures, the two surviving films being very dark and grim black comedies, one of which, The Chaser , touched on the subject of suicide. It was the late years of the Jazz Age, a time of unprecedented prosperity and boundless bonhomie, and the critics, and more critically, the ticket-buying public, rejected Harry. In 1928, First National did not pick up his contract. The Harry Langdon Corp. soon went bankrupt, and his career as the "fourth major silent comedian" was through, just as sound was coming in.)
In April of 1927, Capra and his wife Helen split up, and Capra went off to New York to direct For the Love of Mike for First National, his first picture with Claudette Colbert . The director and his star did not get along, and the film went over budget. Subsequently, First National refused to pay Capra, and he had to hitchhike back to Hollywood. The film proved to be Capra's only genuine flop.
By September 1927, he was back working as a writer for Mack Sennett , but in October, he was hired as a director by Columbia Pictures President and Production Chief Harry Cohn for $1,000. The event was momentous for both of them, for at Columbia Capra would soon become the #1 director in Hollywood in the 1930s, and the success of Capra's films would propel the Poverty Row studio into the major leagues. But at first, Cohn was displeased with him. When viewing the first three days of rushes of his first Columbia film, That Certain Thing , Cohn wanted to fire him as everything on the first day had been shot in long shot, on the second day in medium shot, and on the third day in close-ups.
"I did it that way for time," Capra later recalled. "It was so easy to be better than the other directors, because they were all dopes. They would shoot a long shot, then they would have to change the setup to shoot a medium shot, then they would take their close-ups. Then they would come back and start over again. You lose time, you see, moving the cameras and the big goddamn lights. I said, 'I'll get all the long shots on that first set first, then all the medium shots, and then the close-ups.' I wouldn't shoot the whole scene each way unless it was necessary. If I knew that part of it was going to play in long shot, I wouldn't shoot that part in close-up. But the trick was not to move nine times, just to move three times. This saved a day, maybe two days."
Cohn decided to stick with Capra (he was ultimately delighted at the picture and gave Capra a $1,500 bonus and upped his per-picture salary), and in 1928, Cohn raised his salary again, now to to $3,000 per picture after he made several successful pictures, including Submarine . The Younger Generation , the first of a series of films with higher budgets to be directed by Capra, would prove to be his first sound film, when scenes were reshot for dialogue. In the summer of that year, he was introduced to a young widow, Lucille Warner Reyburn (who became Capra's second wife Lou Capra ). He also met a transplanted stage actress, Barbara Stanwyck , who had been recruited for the talkie but had been in three successive unsuccessful films and wanted to return to the New York stage. Harry Cohn wanted Stanwyck to appear in Capra's planned film, Ladies of Leisure , but the interview with Capra did not go well, and Capra refused to use her.
Stanwyck went home crying after being dismissed by Capra, and her husband, a furious Frank Fay , called Capra up. In his defense, Capra said that Stanwyck didn't seem to want the part. According to Capra's 1961 autobiography, "The Name Above the Title," Fay said, "Frank, she's young, and shy, and she's been kicked around out here. Let me show you a test she made at Warner's." After viewing her Warners' test for The Noose , Capra became enthusiastic and urged Cohn to sign her. In January of 1930, Capra began shooting Ladies of Leisure with Stanwyck in the lead. The movies the two made together in the early '30s established them both on their separate journeys towards becoming movieland legends. Though Capra would admit to falling in love with his leading lady, it was Lucille Warner Reyburn who became the second Mrs. Capra.
"You're wondering why I was at that party. That's my racket. I'm a party girl. Do you know what that is?"
Stanwyck played a working-class "party girl" hired as a model by the painter Jerry, who hails from a wealthy family. Capra had written the first draft of the movie before screenwriter Jo Swerling took over. Swerling thought the treatment was dreadful. According to Capra, Swerling told Harry Cohn , when he initially had approached about adapting the play "Ladies of the Evening" into Capra's next proposed film, "I don't like Hollywood, I don't like you, and I certainly don't like this putrid piece of gorgonzola somebody gave me to read. It stunk when Belasco produced it as Ladies of Leisure , and it will stink as Ladies of Leisure, even if your little tin Jesus does direct it. The script is inane, vacuous, pompous, unreal, unbelievable - - and incredibly dull."
Capra, who favored extensive rehearsals before shooting a scene, developed his mature directorial style while collaborating with Stanwyck, a trained stage actress whose performance steadily deteriorated after rehearsals or retakes. Stanwyck's first take in a scene usually was her best. Capra started blocking out scenes in advance, and carefully preparing his other actors so that they could react to Stanwyck in the first shot, whose acting often was unpredictable, so they wouldn't foul up the continuity. In response to this semi-improvisatory style, Capra's crew had to boost its level of craftsmanship to beyond normal Hollywood standards, which were forged in more static and prosaic work conditions. Thus, the professionalism of Capra's crews became better than those of other directors. Capra's philosophy for his crew was, "You guys are working for the actors, they're not working for you."
After "Ladies of Leisure," Capra was assigned to direct Platinum Blonde starring Jean Harlow . The script had been the product of a series of writers, including Jo Swerling (who was given credit for adaptation), but was polished by Capra and Robert Riskin (who was given screen credit for the dialogue). Along with Jo Swerling , Riskin would rank as one of Capra's most important collaborators, ultimately having a hand in 13 movies. (Riskin wrote nine screenplays for Capra, and Capra based four other films on Riskin's work.)
Riskin created a hard-boiled newspaperman, Stew Smith for the film, a character his widow, the actress Fay Wray , said came closest to Riskin of any character he wrote. A comic character, the wise-cracking reporter who wants to lampoon high society but finds himself hostage to the pretensions of the rich he had previously mocked is the debut of the prototypical "Capra" hero. The dilemma faced by Stew, akin to the immigrant's desire to assimilate but being rejected by established society, was repeated in Mr. Deeds Goes to Town and in Meet John Doe .
Capra, Stanwyck, Riskin and Jo Swerling all were together to create Capra's next picture, The Miracle Woman , a story about a shady evangelist. With John Meehan , Riskin wrote the play that the movie is based on, "Bless You, Sister," and there is a possibly apocryphal story that has Riskin at a story conference at which Capra relates the treatment for the proposed film. Capra, finished, asked Riskin for his input, and Riskin replied, "I wrote that play. My brother and I were stupid enough to produce it on Broadway. It cost us almost every cent we had. If you intend to make a picture of it, it only proves one thing: You're even more stupid than we were."
Jo Swerling adapted Riskin's play, which he and his brother Everett patterned after Sinclair Lewis ' "Elmer Gantry." Like the Lewis novel, the play focuses on the relationship between a lady evangelist and a con man. The difference, though, is that the nature of the relationship is just implied in Riskin's play (and the Capra film). There is also the addition of the blind war-vet as the moral conscience of the story; he is the pivotal character, whereas in Lewis' tale, the con artist comes to have complete control over the evangelist after eventually seducing her. Like some other Capra films, The Miracle Woman is about the love between a romantic, idealizing man and a cynical, bitter woman. Riskin had based his character on lady evangelist Uldine Utley, while Stanwyck based her characterization on Aimee Semple McPherson .
Recognizing that he had something in his star director, Harry Cohn took full advantage of the lowly position his studio had in Hollywood. Both Warner Brothers and mighty MGM habitually lent Cohn their troublesome stars -- anyone rejecting scripts or demanding a pay raise was fodder for a loan out to Cohn's Poverty Row studio. Cohn himself was habitually loathe to sign long-term stars in the early 1930s (although he made rare exceptions to Peter Lorre and The Three Stooges ) and was delighted to land the talents of any top flight star and invariably assigned them to Capra's pictures. Most began their tenure in purgatory with trepidation but left eagerly wanting to work with Capra again.
In 1932, Capra decided to make a motion picture that reflected the social conditions of the day. He and Riskin wrote the screenplay for American Madness , a melodrama that is an important precursor to later Capra films, not only with It's a Wonderful Life which shares the plot device of a bank run, but also in the depiction of the irrationality of a crowd mentality and the ability of the individual to make a difference. In the movie, an idealistic banker is excoriated by his conservative board of directors for making loans to small businesses on the basis of character rather than on sounder financial criteria. Since the Great Depression is on, and many people lack collateral, it would be impossible to productively lend money on any other criteria than character, the banker argues. When there is a run on the bank due to a scandal, it appears that the board of directors are rights the bank depositors make a run on the bank to take out their money before the bank fails. The fear of a bank failure ensures that the failure will become a reality as a crowd mentality takes over among the clientèle. The board of directors refuse to pledge their capital to stave off the collapse of the bank, but the banker makes a plea to the crowd, and just like George Bailey's depositors in It's a Wonderful Life , the bank is saved as the fears of the crowd are ameliorated and businessmen grateful to the banker pledge their capital to save the bank. The board of directors, impressed by the banker's character and his belief in the character of his individual clients (as opposed to the irrationality of the crowd), pledge their capital and the bank run is staved off and the bank is saved.
In his biography, "The Name Above the Picture," Capra wrote that before American Madness , he had only made "escapist" pictures with no basis in reality. He recounts how Poverty Row studios, lacking stars and production values, had to resort to "gimmick" movies to pull the crowds in, making films on au courant controversial subjects that were equivalent to "yellow journalism."
What was more important than the subject and its handling was the maturation of Capra's directorial style with the film. Capra had become convinced that the mass-experience of watching a motion picture with an audience had the psychological effect in individual audience members of slowing down the pace of a film. A film that during shooting and then when viewed on a movieola editing device and on a small screen in a screening room among a few professionals that had seemed normally paced became sluggish when projected on the big screen. While this could have been the result of the projection process blowing up the actors to such large proportions, Capra ultimately believed it was the effect of mass psychology affecting crowds since he also noticed this "slowing down" phenomenon at ball games and at political conventions. Since American Madness dealt with crowds, he feared that the effect would be magnified.
He decided to boost the pace of the film, during the shooting. He did away with characters' entrances and exits that were a common part of cinematic "grammar" in the early 1930s, a survival of the "photoplays" days. Instead, he "jumped" characters in and out of scenes, and jettisoned the dissolves that were also part of cinematic grammar that typically ended scenes and indicated changes in time or locale so as not to make cutting between scenes seem choppy to the audience. Dialogue was deliberately overlapped, a radical innovation in the early talkies, when actors were instructed to let the other actor finish his or her lines completely before taking up their cue and beginning their own lines, in order to facilitate the editing of the sound-track. What he felt was his greatest innovation was to boost the pacing of the acting in the film by a third by making a scene that would normally play in one minute take only 40 seconds.
When all these innovations were combined in his final cut, it made the movie seem normally paced on the big screen, though while shooting individual scenes, the pacing had seemed exaggerated. It also gave the film a sense of urgency that befitted the subject of a financial panic and a run on a bank. More importantly, it "kept audience attention riveted to the screen," as he said in his autobiography. Except for "mood pieces," Capra subsequently used these techniques in all his films, and he was amused by critics who commented on the "naturalness" of his direction.
Capra was close to completely establishing his themes and style. Justly accused of indulging in sentiment which some critics labeled "Capra-corn," Capra's next film, Lady for a Day was an adaptation of Damon Runyon 's 1929 short story "Madame La Gimp" about a nearly destitute apple peddler whom the superstitious gambler Dave the Dude (portrayed by Warner Brothers star Warren William ) sets up in high style so she and her daughter, who is visiting with her finance, will not be embarrassed. Dave the Dude believes his luck at gambling comes from his ritualistically buying an apple a day from Annie, who is distraught and considering suicide to avoid the shame of her daughter seeing her reduced to living on the street. The Dude and his criminal confederates put Annie up in a luxury apartment with a faux husband in order to establish Annie in the eyes of her daughter as a dignified and respectable woman, but in typical Runyon fashion, Annie becomes more than a fake as the masquerade continues.
Robert Riskin wrote the first four drafts of Lady for a Day , and of all the scripts he worked on for Capra, the film deviates less from the script than any other. After seeing the movie, Runyon sent a telegraph to Riskin praising him for his success at elaborating on the story and fleshing out the characters while maintain his basic story. Lady for a Day was the favorite Capra film of John Ford , the great filmmaker who once directed the unknown extra. The movie cost $300,000 and was the first of Capra's oeuvre to attract the attention of the Academy of Motion Picture Arts & Sciences, getting a Best Director nomination for Capra, plus nods for Riskin and Best Actress. The movie received Columbia's first Best Picture nomination, the studio never having attracted any attention from the Academy before Lady for a Day . (Capra's last film was the flop remake of Lady for a Day with Bette Davis and Glenn Ford , Pocketful of Miracles )
Capra reunited with Stanwyck and produced his first universally acknowledged classic, The Bitter Tea of General Yen , a film that now seems to belong more to the oeuvre of Josef von Sternberg than it does to Frank Capra. With "General Yen," Capra had consciously set out to make a movie that would win Academy Awards. Frustrated that the innovative, timely, and critically well-received American Madness had not received any recognition at the Oscars (particularly in the director's category in recognition of his innovations in pacing), he vented his displeasure to Columbia boss Cohn.
"Forget it," Cohn told Capra, as recounted in his autobiography. "You ain't got a Chinaman's chance. They only vote for that arty junk."
Capra set out to boost his chances by making an arty film featuring a "Chinaman" that confronted that major taboo of American cinema of the first half of the century, miscegenation.
In the movie, the American missionary Megan Davis is in China to marry another missionary. Abducted by the Chinese Warlord General Yen, she is torn away from the American compound that kept her isolated from the Chinese and finds herself in a strange, dangerous culture. The two fall in love despite their different races and life-views. The film ran up against the taboo against miscegenation embedded in the Motion Picture Producers and Distributors Association's Production Code, and while Megan merely kisses General Yen's hand in the picture, the fact that she was undeniably in love with a man from a different race attracted the vituperation of many bigots.
Having fallen for Megan, General Yen engenders her escape back to the Americans before willingly drinking a poisoned cup of tea, his involvement with her having cost him his army, his wealth, and now his desire to live. The Bitter Tea of General Yen marks the introduction of suicide as a Capra theme that will come back repeatedly, most especially in George Bailey's breakdown on the snowy bridge in It's a Wonderful Life .
Despair often shows itself in Capra films, and although in his post-"General Yen" work, the final reel wraps things up in a happy way, until that final reel, there is tragedy, cynicism, heartless exploitation, and other grim subject matter that Capra's audiences must have known were the truth of the world, but that were too grim to face when walking out of a movie theater. When pre-Code movies were rediscovered and showcased across the United States in the 1990s, they were often accompanied by thesis about how contemporary audiences "read" the films (and post-1934 more Puritanical works), as the movies were not so frank or racy as supposed. There was a great deal of signaling going on which the audience could read into, and the same must have been true for Capra's films, giving lie to the fact that he was a sentimentalist with a saccharine view of America. There are few films as bitter as those of Frank Capra before the final reel.
Despair was what befell Frank Capra, personally, on the night of March 16, 1934, which he attended as one of the Best Director nominees for Lady for a Day . Capra had caught Oscar fever, and in his own words, "In the interim between the nominations and the final voting...my mind was on those Oscars." When Oscar host Will Rogers opened the envelope for Best Director, he commented, "Well, well, well. What do you know. I've watched this young man for a long time. Saw him come up from the bottom, and I mean the bottom. It couldn't have happened to a nicer guy. Come on up and get it, Frank!"
Capra got up to go get it, squeezing past tables and making his way to the open dance floor to accept his Oscar. "The spotlight searched around trying to find me. 'Over here!' I waved. Then it suddenly swept away from me -- and picked up a flustered man standing on the other side of the dance floor - Frank Lloyd !"
Frank Lloyd went up to the dais to accept HIS Oscar while a voice in back of Capra yelled, "Down in front!"
Capra's walk back to his table amidst shouts of "Sit down!" turned into the "Longest, saddest, most shattering walk in my life. I wished I could have crawled under the rug like a miserable worm. When I slumped in my chair I felt like one. All of my friends at the table were crying."
That night, after Lloyd's Cavalcade , beat Lady for a Day for Best Picture, Capra got drunk at his house and passed out. "Big 'stupido,'" Capra thought to himself, "running up to get an Oscar dying with excitement, only to crawl back dying with shame. Those crummy Academy voters; to hell with their lousy awards. If ever they did vote me one, I would never, never, NEVER show up to accept it."
Capra would win his first of three Best Director Oscars the next year, and would show up to accept it. More importantly, he would become the president of the Academy in 1935 and take it out of the labor relations field a time when labor strife and the formation of the talent guilds threatened to destroy it.
The International Academy of Motion Picture Arts & Sciences had been the brainchild of Louis B. Mayer in 1927 (it dropped the "International" soon after its formation). In order to forestall unionization by the creative talent (directors, actors and screenwriters) who were not covered by the Basic Agreement signed in 1926, Mayer had the idea of forming a company union, which is how the Academy came into being. The nascent Screen Writers Union, which had been created in 1920 in Hollywood, had never succeeded in getting a contract from the studios. It went out of existence in 1927, when labor relations between writers and studios were handled by the Academy's writers' branch.
The Academy had brokered studio-mandated pay-cuts of 10% in 1927 and 1931, and massive layoffs in 1930 and 1931. With the inauguration of President Franklin D. Roosevelt on March 4, 1933, Roosevelt took no time in attempting to tackle the Great Depression. The day after his inauguration, he declared a National Bank Holiday, which hurt the movie industry as it was heavily dependent on bank loans. Louis B. Mayer , as president of the Association of Motion Picture Producers, Inc. (the co-equal arm of the Motion Picture Producers and Distributors Association charged with handling labor relations) huddled with a group from the Academy (the organization he created and had long been criticized for dominating, in both labor relations and during the awards season) and announced a 50% across-the-board pay cut. In response, stagehands called a strike for March 13th, which shut down every studio in Hollywood.
After another caucus between Mayer and the Academy committee, a proposal for a pay-cut on a sliding-scale up to 50% for everyone making over $50 a week; which would only last for eight weeks, was inaugurated. Screen writers resigned en masse from the Academy and joined a reformed Screen Writers Guild, but most employees had little choice and went along with it. All the studios but Warner Bros. and Sam Goldwyn honored the pledge to restore full salaries after the eight weeks, and Warners production chief Darryl F. Zanuck resigned in protest over his studio's failure to honor its pledge. A time of bad feelings persisted, and much anger was directed towards the Academy in its role as company union.
The Academy, trying to position itself as an independent arbiter, hired the accounting firm of Price Waterhouse for the first time to inspect the books of the studios. The audit revealed that all the studios were solvent, but Harry Warner refused to budge and Academy President 'Conrad Nagel' resigned, although some said he was forced out after a vote of no-confidence after arguing Warner's case. The Academy announced that the studio bosses would never again try to impose a horizontal salary cut, but the usefulness of the Academy as a company union was over.
Under Roosevelt's New Deal, the self-regulation imposed by the National Industrial Relations Act (signed into law on June 16th) to bring business sectors back to economic health was predicated upon cartelization, in which the industry itself wrote its own regulatory code. With Hollywood, it meant the re-imposition of paternalistic labor relations that the Academy had been created to wallpaper over. The last nail in the company union's coffin was when it became public knowledge that the Academy appointed a committee to investigate the continued feasibility of the industry practice of giving actors and writers long-term contracts. High salaries to directors, actors, and screen writers was compensation to the creative people for producers refusing to ceded control over creative decision-making. Long-term contracts were the only stability in the Hollywood economic set-up up creative people,. Up to 20%-25% of net earnings of the movie industry went to bonuses to studio owners, production chiefs, and senior executives at the end of each year, and this created a good deal of resentment that fueled the militancy of the SWG and led to the formation of the Screen Actors Guild in July 1933 when they, too, felt that the Academy had sold them out.
The industry code instituted a cap on the salaries of actors, directors, and writers, but not of movie executives; mandated the licensing of agents by producers; and created a reserve clause similar to baseball where studios had renewal options with talent with expired contracts, who could only move to a new studio if the studio they had last been signed to did not pick up their option.
The SWG sent a telegram to FDR in October 1933 denouncing this policy, arguing that the executives had taken millions of dollars of bonuses while running their companies into receivership and bankruptcy. The SWG denounced the continued membership of executives who had led their studios into financial failure remaining on the corporate boards and in the management of the reorganized companies, and furthermore protested their use of the NIRA to write their corrupt and failed business practices into law at the expense of the workers.
There was a mass resignation of actors from the Academy in October 1933, with the actors switching their allegiance to SAG. SAG joined with the SWG to publish "The Screen Guilds Magazine," a periodical whose editorial content attacked the Academy as a company union in the producers' pocket. SAG President Eddie Cantor, a friend of Roosevelt who had bee invited to spend the Thanksgiving Day holiday with the president, informed him of the guild's grievances over the NIRA code. Roosevelt struck down many of the movie industry code's anti-labor provisions by executive order.
The labor battles between the guilds and the studios would continue until the late 1930s, and by the time Frank Capra was elected president of the Academy in 1935, the post was an unenviable one. The Screen Directors Guild was formed at King Vidor's house on January 15, 1936, and one of its first acts was to send a letter to its members urging them to boycott the Academy Awards ceremony, which was three days away. None of the guilds had been recognized as bargaining agents by the studios, and it was argued to grace the Academy Awards would give the Academy, a company union, recognition. Academy membership had declined to 40 from a high of 600, and Capra believed that the guilds wanted to punish the studios financially by depriving them of the good publicity the Oscars generated.
But the studios couldn't care less. Seeing that the Academy was worthless to help them in its attempts to enforce wage cuts, it too abandoned the Academy, which it had financed. Capra and the Board members had to pay for the Oscar statuettes for the 1936 ceremony. In order to counter the boycott threat, Capra needed a good publicity gimmick himself, and the Academy came up with one, voting D.W. Griffith an honorary Oscar, the first bestowed since one had been given to Charles Chaplin at the first Academy Awards ceremony.
The Guilds believed the boycott had worked as only 20 SAG members and 13 SWG members had showed up at the Oscars, but Capra remembered the night as a victory as all the winners had shown up. However, 'Variety' wrote that "there was not the galaxy of stars and celebs in the director and writer groups which distinguished awards banquets in recent years." "Variety" reported that to boost attendance, tickets had been given to secretaries and the like. Bette Davis and Victor McLaglen had showed up to accept their Oscars, but McLaglen's director and screenwriter, John Ford and Dudley Nichols , both winners like McLaglen for The Informer , were not there, and Nichols became the first person to refuse an Academy Award when he sent back his statuette to the Academy with a note saying he would not turn his back on his fellow writers in the SWG. Capra sent it back to him. Ford, the treasurer of the SDG, had not showed up to accept his Oscar, he explained, because he wasn't a member of the Academy. When Capra staged a ceremony where Ford accepted his award, the SDG voted him out of office.
To save the Academy and the Oscars, Capra convinced the board to get it out of the labor relations field. He also democratized the nomination process to eliminate studio politics, opened the cinematography and interior decoration awards to films made outside the U.S., and created two new acting awards for supporting performances to win over SAG.
By the 1937 awards ceremony, SAG signaled its pleasure that the Academy had mostly stayed out of labor relations by announcing it had no objection to its members attending the awards ceremony. The ceremony was a success, despite the fact that the Academy had to charge admission due to its poor finances. Frank Capra had saved the Academy of Motion Picture Arts and Sciences, and he even won his second Oscar that night, for directing Mr. Deeds Goes to Town . At the end of the evening, Capra announced the creation of the Irving Thalberg Memorial Award to honor "the most consistent high level of production achievement by an individual producer." It was an award he himself was not destined to win.
By the 1938 awards, the Academy and all three guilds had buried the hatchet, and the guild presidents all attended the ceremony: SWG President Dudley Nichols , who finally had accepted his Oscar, SAG President Robert Montgomery, and SDG President King Vidor . Capra also had introduced the secret ballot, the results of which were unknown to everyone but the press, who were informed just before the dinner so they could make their deadlines. The first Irving Thalberg Award was given to long-time Academy supporter and anti-Guild stalwart Darryl F. Zanuck by Cecil B. DeMille , who in his preparatory remarks, declared that the Academy was "now free of all labor struggles."
But those struggles weren't over. In 1939, Capra had been voted president of the SDG and began negotiating with AMPP President 'Joseph Schenck', the head of 20th Century-Fox, for the industry to recognize the SDG as the sole collective bargaining agent for directors. When Schenck refused, Capra mobilized the directors and threatened a strike. He also threatened to resign from the Academy and mount a boycott of the awards ceremony, which was to be held a week later. Schenck gave in, and Capra won another victory when he was named Best Director for a third time at the Academy Awards, and his movie, You Can't Take It with You , was voted Best Picture of 1938.
The 1940 awards ceremony was the last that Capra presided over, and he directed a documentary about them, which was sold to Warner Bros' for $30,000, the monies going to the Academy. He was nominated himself for Best Director and Best Picture for Mr. Smith Goes to Washington , but lost to the Gone with the Wind juggernaut. Under Capra's guidance, the Academy had left the labor relations field behind in order to concentrated on the awards (publicity for the industry), research and education.
"I believe the guilds should more or less conduct the operations and functions of this institution," he said in his farewell speech. He would be nominated for Best Director and Best Picture once more with It's a Wonderful Life in 1947, but the Academy would never again honor him, not even with an honorary award after all his service. ( Bob Hope , in contrast, received four honorary awards, including a lifetime membership in 1945, and the Jean Hersholt Humanitarian award in 1960 from the Academy.) The SDG (subsequently renamed the Directors Guild of America after its 1960 with the Radio and Television Directors Guild and which Capra served as its first president from 1960-61), the union he had struggled with in the mid-1930s but which he had first served as president from 1939 to 1941 and won it recognition, voted him a lifetime membership in 1941 and a Lifetime Achievement Award in 1959.
Whenever Capra convinced studio boss Harry Cohn to let him make movies with more controversial or ambitious themes, the movies typically lost money after under-performing at the box office. The Bitter Tea of General Yen and Lost Horizon were both expensive, philosophically minded pictures that sought to reposition Capra and Columbia into the prestige end of the movie market. After the former's relative failure at the box office and with critics, Capra turned to making a screwball comedy, a genre he excelled at, with It Happened One Night . Bookended with You Can't Take It with You , these two huge hits won Columbia Best Picture Oscars and Capra Best Director Academy Awards. These films, along with Mr. Deeds Goes to Town , Mr. Smith Goes to Washington , and It's a Wonderful Life are the heart of Capra's cinematic canon. They are all classics and products of superb craftsmanship, but they gave rise to the canard of "Capra-corn." One cannot consider Capra without taking into account The Bitter Tea of General Yen , American Madness , and Meet John Doe , all three dark films tackling major issues, Imperialism, the American plutocracy, and domestic fascism. Capra was no Pollyanna, and the man who was called a "dago" by Mack Sennett and who went on to become one of the most unique, highly honored and successful directors, whose depictions of America are considered Americana themselves, did not live his cinematic life looking through a rose-colored range-finder
In his autobiography "The Name Above the Title," Capra says that at the time of American Madness , critics began commenting on his "gee-whiz" style of filmmaking. The critics attacked "gee whiz" cultural artifacts as their fabricators "wander about wide-eyed and breathless, seeing everything as larger than life." Capra's response was "Gee whiz!"
Defining Hollywood as split between two camps, "Mr. Up-beat" and "Mr. Down-beat," Capra defended the up-beat gee whiz on the grounds that, "To some of us, all that meets the eye IS larger than life, including life itself. Who ca match the wonder of it?"
Among the artists of the "Gee-Whiz:" school were Ernest Hemingway , Homer , and Paul Gauguin , a novelist who lived a heroic life larger than life itself, a poet who limned the lives of gods and heroes, and a painter who created a mythic Tahiti, the Tahiti that he wanted to find. Capra pointed to Moses and the apostles as examples of men who were larger than life. Capra was proud to be "Mr. Up-beat" rather than belong to "the 'ashcan' school" whose "films depict life as an alley of cats clawing lids off garbage cans, and man as less noble than a hyena. The 'ash-canners,' in turn, call us Pollyannas, mawkish sentimentalists, and corny happy-enders."
What really moves Capra is that in America, there was room for both schools, that there was no government interference that kept him from making a film like American Madness . (While Ambassador to the Court of St. James, Joseph P. Kennedy had asked Harry Cohn to stop exporting Mr. Smith Goes to Washington to Europe as it portrayed American democracy so negatively.) About Mr. Up-beat and Mr-Downbeat and "Mr. In-between," Capra says, "We all respect and admire each other because the great majority freely express their own individual artistry unfettered by subsidies or strictures from government, pressure groups, or ideologists."
In the period 1934 to 1941, Capra the created the core of his canon with the classics It Happened One Night , Mr. Deeds Goes to Town , You Can't Take It with You , Mr. Smith Goes to Washington and Meet John Doe , wining three Best Director Oscars in the process. Some cine-historians call Capra the great American propagandist, he was so effective in creating an indelible impression of America in the 1930s. "Maybe there never was an America in the thirties," John Cassavetes was quoted as saying. "Maybe it was all Frank Capra."
After the United States went to war in December 1941, Frank Capra rejoined the Army and became an actual propagandist. His "Why We Fight" series of propaganda films were highly lauded for their remarkable craftsmanship and were the best of the U.S. propaganda output during the war. Capra's philosophy, which has been variously described as a kind of Christian socialism (his films frequently feature a male protagonist who can be seen a Christ figure in a story about redemption emphasizing New Testament values) that is best understood as an expression of humanism, made him an ideal propagandist. He loved his adopted country with the fervor of the immigrant who had realized the American dream. One of his propaganda films, The Negro Soldier , is a milestone in race relations.
Capra, a genius in the manipulation of the first form of "mass media," was opposed to "massism." The crowd in a Capra film is invariably wrong, and he comes down on the side of the individual, who can make a difference in a society of free individuals. In an interview, Capra said he was against "mass entertainment, mass production, mass education, mass everything. Especially mass man. I was fighting for, in a sense, the preservation of the liberty of the individual person against the mass."
Capra had left Columbia after "Mr. Smith" and formed his own production company. After the war, he founded Liberty Films with John Ford and made his last masterpiece, It's a Wonderful Life . Liberty folded prior to its release (another Liberty film, William Wyler 's masterpiece, The Best Years of Our Lives was released through United Artists). Though Capra received his sixth Oscar nomination as best director, the movie flopped at the box office, which is hard to believe now that the film is considered must-see viewing each Christmas. Capra's period of greatness was over, and after making three under-whelming films from 1948 to '51 (including a remake of his earlier Broadway Bill ), Capra didn't direct another picture for eight years, instead making a series of memorable semi-comic science documentaries for television that became required viewing for most 1960's school kids. His last two movies, A Hole in the Head and Pocketful of Miracles his remake of Lady for a Day did little to enhance his reputation.
But a great reputation it was, and is. Capra's films withstood the test of time and continue to be as beloved as when they were embraced by the movie-going "masses" in the 1930s. It was the craftsmanship: Capra was undeniably a master of his medium. The great English novelist Graham Greene, who supported himself as a film critic in the 1930s, loved Capra's films due to their sense of responsibility and of common life, and due to his connection with his audience. (Capra, according to the 1938 "Time" article, believed that what he liked would be liked by moviegoers). In his review of Mr. Deeds Goes to Town , Greene elucidated the central theme of Capra
June Allyson
American leading lady whose sweet smile and sunny disposition made her the prototypical girl-next-door of American movies of the 1940s. Raised in semi-poverty in Bronx neighborhoods by her divorced mother, Allyson (nee Ella Geisman) was injured in a fall at age eight and spent four years confined within a steel brace. Swimming therapy slowly gave her mobility again, and she began to study dance as well. She entered dance contests after high school and earned roles in several musical short films. In 1938, she made her Broadway debut in the musical "Sing Out the News." After several roles in the chorus of various musicals, she was hired to understudy Betty Hutton in "Panama Hattie." Hutton's measles gave Allyson a shot at a performance and she impressed director George Abbott so much that he gave her a role in his next musical, "Best Foot Forward." She was subsequently hired by MGM to recreate her role in the screen version. The studio realized what it had in her and offered her a contract.
Her smoky voice and winning personality made her very popular and she made more than a score of films for MGM, most often in musicals and comedies. She became a box-office attraction, paired with many of the major stars of the day. In 1945, she married actor-director Dick Powell , with whom she occasionally co-starred. Following Powell's death from cancer in 1963, she retreated somewhat from film work, appearing only infrequently on screen and slightly more often in television films. Occasional nightclub appearances and commercials were her only other public performances since, and she died of pulmonary respiratory failure and acute bronchitis on July 8, 2006, after a long illness.
Jamie Hyneman
Jamie Hyneman is a jack of all trades. Graduate in Russian language and literature, Animal Wrangler, Robot Builder, Toy Prototyper and holder of patent no. 6,458,008 for a remote control/stabilization device, Jamie is a truly well-rounded individual.
Besides his time on Mythbusters, Jamie builds items for commercials including the 7-UP can-chucking machine and the Nike Roller-shoe. He also is the CEO of M5 Industries, his own personal shop that he bought when Colossal Industries went under. His shop does a lot of work in movies, television and commercials, as well as toy prototyping. M5 Industries is also where Mythbusters is filmed.
Prior to getting into the special effects industry, he ran a dive/charter business for several years in the Carribbean, and is a certified dive master. He is an animal-wrangler, and has experience with all sorts of critters. He was once a concrete inspector for a few months, and ran a pet store.
On the Comedy Central show BattleBots, Jamie and M5 built and ran the wildly successful and dangerous robot Blendo, and he also worked on DeadBolt. Other participants in the show at the same time as Jamie were Adam Savage and Grant Imahara !
Jamie is happily married, and has said that he is very proud of his wife!
Michael Beattie
Originally from Toronto, Canada; Award winning Los Angeles based Actor and Voice Actor Michael Beattie has worked for over 25 years in film, television, radio, theatre, audio-book narration, as well as television and feature animation. The voice of the 2nd (Skinny) Marketing Guy in Universal Pictures Dr Seuss's: The Lorax (Summer 2012). The voice of evil Scottish henchcat "Angus MacDoughall" in the Warner Brothers Feature Cats and Dogs: The Revenge of Kitty Galore. Mr. Beattie has voiced series regular roles in Animated Series' Conan the Adventurer (Needle ), T-Rex (Buck, Delaney ), King Arthur and the Knights of Justice(Trunk, Gallop, Zeke ) Beverly Hills Teens (Buck Huckster, Wilshire Brentwood ), Care Bears: The Nutcracker Suite (Nutcracker), Robocop (Wheels Wilson), As Told By Ginger (Principal Erickson) among others. His voice credits for video games include a critically acclaimed and award winning performance as Alien Professor Mordin Solus in EA/Bioware's Smash Hit Mass Effect 2*, Blade Wolf (IF Prototype LQ-84i) in Metal Gear Rising: Revengeance; Russell in Dishonored, Bilbo Baggins in The Hobitt, Herman Schultz/Shocker in Spiderman: The Movie, and Spiderman 2, Company of Heroes, The Sopranos: Road to Respect, Titan Quest, Pitfall: The Lost Expedition, Neopets , Dragon Age: Origins, Star Wars: Knights of the Old Republic and Mr. Beattie performed on-camera in leading roles in 2 Guy Ritchie directed films. "Swept Away" (2002) and "Star" - Part of the BMW Internet film series' The Driver' (2001). He is also the creator of tomsawyeraudio.com a web-based company offering audio-books of unabridged classic children's novels to schools, libraries and the general public.
Dolores del Rio
Dolores del Rio was the first Mexican movie star with international appeal and had a meteoric career in 1920s Hollywood (an extraordinary accomplishment for an Hispanic female on those years). She came from an aristocratic family in Durango. In the Mexican revolution of 1916, however, the family lost everything they had and emigrated to Mexico City, where Dolores became a socialite. In 1921 she married Jaime Del Río (also known as Jaime Martínez Del Río), a wealthy Mexican, and the two became friends with Hollywood producer/director Edwin Carewe . In a somewhat unorthodox manner, for those years, the couple moved to Hollywood where they expected to launch careers in the movie business (she as an actress, he as a screenwriter). Eventually they were divorced after Dolores made her first film, Joanna . THe film was a success and Dolores was hailed as a female Rudolph Valentino . Her career rose until the arrival of sound in 1928. After a number of forgettable films, she married Cedric Gibbons , the well-known art director and production designer at MGM studios. Dolores returned to Mexico in 1942. Her Hollywood career was over, and a romance with Orson Welles --who later called her "the most exciting woman I've ever met"--caused her second divorce. Mexican director Emilio Fernández offered her the lead in his film Flor silvestre , with a wholly unexpected result: at age 37, Dolores Del Río became the most famous movie star in her country, filming in Spanish for the first time. Her association with Fernández' team (cinematographer Gabriel Figueroa , writer Mauricio Magdaleno and actor Pedro Armendáriz ) was mainly responsible for creating what has been called the Golden Era of Mexican Cinema. With such pictures as María Candelaria (Xochimilco) , The Abandoned and Bugambilia , Del Río became the prototypical Mexican beauty in foreign countries. Her career included film, theater and television. In her last years she received accolades because of her work for orphaned children. Her last film was The Children of Sanchez .
Brian Tochi
Film audiences & television viewers know Brian Tochi as a star of several hit films, a collection of six television series, theater, and a multitude of guest-starring and co-starring roles in episodic television. Brian has starred or co-starred in over 25 motion pictures and their sequels, among them Revenge of the Nerds and Revenge of the Nerds III: The Next Generation , as well as Police Academy 3: Back in Training and Police Academy 4: Citizens on Patrol , where his creation of outlandish characters has been the prototype for countless other portrayals in television, commercials and feature film productions. Another hugely successful film franchise is the Teenage Mutant Ninja Turtles and its three sequels, starring as "Leonardo", the pizza-loving leader of the Turtles. Brian's television work is diverse and highly acclaimed. He has starred in numerous television series, including Anna and the King (opposite Yul Brynner for CBS), Space Academy (CBS), the The Renegades (ABC) and Santa Barbara (NBC). Also, for over 3-1/2 years, he replaced Barry Bostwick and was named Host and Star of his own CBS television series entitled Razzmatazz , garnering the network a Daytime Emmy in the process.
Another unique series outing came from Time/Warner's "Channel One", the educational news program with a daily audience of over 11.5 million students. His 2.5-year involvement not only included hosting and narrating duties, but he also functioned as a writer, producer and segment director, as well as being named chief foreign correspondent for the show.
Another area in which Brian has focused his attention is directing and the creation of unique properties, one of them being Tales of a Fly on the Wall , of which he is the producer, creator, writer and director.
Through his years of work in the entertainment industry, Brian has been able to use his position to help support many causes for young people, including Famous Phone Friends (calling and lending encouragement to catastrophically and terminally ill children), the Make-A-Wish Foundation, the Special Olympics, Young Artists United (celebrities & entertainment professionals who've donated their time to help troubled teens throughout the country), and others.
A native of Los Angeles, Brian has been educated through the L.A. public school system in addition to being privately tutored through the studios' education program. His outstanding scholastic abilities rated him in the highest percentile in national academic levels. Brian has also been educated at the University of Southern California (USC), University of California at Los Angeles (UCLA), and University of California at Irvine (UCI).
Besides several of the projects Brian is developing and creating, one is passionately closest to his heart - that of helping to fix a broken planet. His greatest ambition is to enlist the help of others to lift humanity, to give back, to create change, and to ultimately lay a foundation towards building a better and greener future. With everyone's help, Brian believes it can and will be done.
Nancy Walker
They say big things often come in small packages, and never was that saying more true than when sizing up the talents of that diminutive dynamo Nancy Walker. Born Anna Myrtle Smoyer in Philadelphia, Pennsylvania on May 10, 1922, she lived a born-in-a-trunk existence as the daughter of vaudevillian Dewey Barto (né Dewey Smoyer). At the time of his run of Broadway's "Hellzapoppin", he was part of the comedy team of Barto & Mann ( George Mann ). Her sister, Betty Lou Barto, also went on to have a musical career. Though she had designs on becoming a legit singer, it was hard for others to take Nancy seriously with her naturally aggressive manner backed up by this tiny frame. Comedy was definitely her forte.
Broadway legend George Abbott picked up on her innate comic abilities immediately and set her up as his blind date in the Broadway musical smash "Best Foot Forward" in 1941. The show, starring June Allyson , was a certifiable hit, and when MGM turned Best Foot Forward into a musical film, Nancy, as well as June, went right along with it. Nancy continued giving top support for MGM in the Judy Garland / Mickey Rooney starrer Girl Crazy and in Broadway Rhythm . Back on Broadway, Nancy all but stole the proceedings as the hoydenish cabbie Hildy Esterhazy, who pursues a sailor on leave, in "On the Town" (1944). After a brief first marriage, she met vocal coach David Craig during the 1948 run of "Look, Ma, I'm Dancing," when she was plagued by vocal problems. They married a few years later. When Nancy left the show, she was replaced by her sister Betty. Other musical plaudit came her way, including Tony nominations for the revue "Phoenix '55" and for her lead role in "Do Re Mi" with Phil Silvers .
Nancy experienced some tough, lean years in the late 1950s and 1960s until she found TV an accepting medium. She became popular all over again, and a household name to boot, as Rosie the waitress in a series of Bounty paper-towel commercials. At around the same time, she won a regular role as Mildred, the sardonic maid on McMillan & Wife . Her prototypical wisecracking role, however, came as the outlandish Jewish mom Ida Morgenstern, mother of Valerie Harper 's "Rhoda" character on Mary Tyler Moore . When Harper spun off into her own series-- Rhoda --interfering Ida was right alongside her still-unmarried daughter, wreaking havoc. Alas, nominated for eight Emmys and four Golden Globe Awards for her collective work on series TV, she never won. Her renewed popularity, however, led to a couple of TV star vehicles that plainly didn't suit her second-banana talents. Neither lasted very long. She eventually moved into stage and film directing. Nancy made her final regular TV-series appearance on the sitcom True Colors , playing another of her long line of delightfully brash buttinskys. During the run of the show, she was diagnosed with lung cancer and died just weeks before her 70th birthday in 1992.
Adolphe Menjou
The words "suave" and "debonair" became synonymous with the name Adolphe Menjou in Hollywood, both on- and off-camera. The epitome of knavish, continental charm and sartorial opulence, Menjou, complete with trademark waxy black mustache, evolved into one of Hollywood's most distinguished of artists and fashion plates, a tailor-made scene-stealer, if you will. What is often forgotten is that he was primed as a matinée idol back in the silent-film days. With hooded, slightly owlish eyes, a prominent nose and prematurely receding hairline, he was hardly competition for Rudolph Valentino , but he did possess the requisite demeanor to confidently pull off a roguish and magnetic man-about-town. Fluent in six languages, Menjou was nearly unrecognizable without some type of formal wear, and he went on to earn distinction as the nation's "best dressed man" nine times.
Born on February 18, 1890, in Pittsburgh, Pennsylvania, he was christened Adolphe Jean Menjou, the elder son of a hotel manager. His Irish mother was a distant cousin of novelist / poet James Joyce ("Ulysses") (1882-1941). His French father, an émigré, eventually moved the family to Cleveland, where he operated a chain of restaurants. He disapproved of show business and sent an already piqued Adolphe to Culver Military Academy in Indiana in the hopes of dissuading him from such a seemingly reckless and disreputable career. From there Adolphe was enrolled at Stiles University prep school and then Cornell University. Instead of acquiescing to his father's demands and obtaining a engineering degree, however, he abruptly changed his major to liberal arts and began auditioning for college plays. He left Cornell in his third year in order to help his father manage a restaurant for a time during a family financial crisis. From there he left for New York and a life in the theater.
Adolphe toiled as a laborer, a haberdasher and even a waiter in one of his father's restaurants during his salad days, which included some vaudeville work. Oddly enough, he never made it to Broadway but instead found extra and/or bit work for various film studios (Vitagraph, Edison, Biograph) starting in 1915. World War I interrupted his early career, and he served as a captain with the Ambulance Corps in France. After the war he found employment off-camera as a productions manager and unit manager. When the New York-based film industry moved west, so did Adolphe.
Nothing of major significance happened for the fledgling actor until 1921, an absolute banner year for him. After six years of struggle he finally broke into the top ranks with substantial roles in The Faith Healer and Through the Back Door , the latter starring Mary Pickford . He formed some very strong connections as a result and earned a Paramount contract in the process. Cast by Mary's then-husband Douglas Fairbanks as Louis XIII in the rousing silent The Three Musketeers , he finished off the year portraying the influential writer/friend Raoul de Saint Hubert in Rudolph Valentino 's classic The Sheik .
Adam Roarke
Burly Brooklyn-born tough guy Adam Roarke made an infamous name for himself in 1960s biker flicks, usually donning a black leather jacket and a mean, mean scowl, typically the head of a bunch of hell-raisers. Nine of his more than 30 films would be in motorcycle movies, sometimes at odds with young rebel Jack Nicholson before his 'Easy Rider' fame. The former Richard Jordan Gerler was destined to become some type of entertainer as his dad was a vaudeville comic and his mom a chorus girl. His parents met while performing in the Ziegfeld Follies. A former gang member living on the streets of New York, he eventually straightened up by enlisting in the Army. Following this he studied acting at the Beverly Hills Playhouse and earned a Universal contract to boot. Adam appeared on TV in all the "hip" 60s shows at the time such as "The Mod Squad" and "Star Trek." His cult films include Hells Angels on Wheels with Nicholson, The Savage Seven , Psych-Out again with Nicholson, Hell's Belles and Platinum Pussycat In addition, he appeared on horseback in John Wayne 's western El Dorado , and co-starred with Anthony Perkins in Play It As It Lays , Peter Fonda in Dirty Mary Crazy Larry , and Peter O'Toole in The Stunt Man . Parts grew scarce in the early 80s and Adam decided to focus his attentions on teaching. In 1982 he opened the Film Actor's Lab in Dallas, Texas and settled. One of his students would be Lou Diamond Phillips of the movie La Bamba fame. Ironically, Adam's last film was a featured role in the low-budget film Sioux City starring and directed by former protégé Phillips. Adam died two years later of a heart attack in his sleep in the Dallas-Fort Worth suburb of Euless, Texas. The 60s 'leader of the pack' prototype was survived by wife Carla.
Reginald Denny
Sometime in the early 1930s, Denny was between scenes on a movie set when he met a neighborhood boy who was trying to fly a bulky gas-powered model plane. When he tried to help by making an adjustment on the machine, Denny succeeded only in wrecking it. But this launched his infatuation with model aviation, and his new hobby grew into Reginald Denny Industries, maker of model plane kits.
When the U.S. Army began hunting for a better and safer way to train anti-aircraft gunners than using targets towed by piloted planes, Denny and his associates Walter Righter and Paul Whittier began work on a radio-controlled target drone, and their third prototype won them an Army contract. Radioplane was formed in 1940, and during WWII produced nearly 15,000 target drones (the RP-5A) for the Army. Radioplane was later purchased by Northrop in 1952.
Roy Roberts
Veteran character player Roy Roberts proudly claimed over 900 performances in a 40-year career. He might not have been known necessarily by name but the face was so distinct and obviously familiar. The prototype of the steely executive, the no-nonsense mayor, the assured banker, the stentorian leader, Roberts looked out of place without his patented dark suit and power tie. His silvery hair, perfectly trimmed mustache, non-plussed reactions and take-charge demeanor reminded one of the "Mr. Monopoly" character from the classic game board.
Roberts was born Roy Barnes Jones on March 19, 1906, in Tampa, Florida, the youngest of six children. The year 1900 is given as his birth date in several reference books, which seems compatible with his noticeably aged appearance in the last decade or so of his life, but his final resting stone bears the year 1906. His early career was on the Broadway stage, gracing such plays as "Old Man Murphy" (1931), "Twentieth Century" (1932), "The Body Beautiful" (1935) and "My Sister Eileen" (1942). In 1943 he made a successful switch to films, debuting as a Marine officer in Guadalcanal Diary . Usually billed around tenth in the credits, he played a reliable succession of stalwart roles (captains, generals, politicians, sheriffs, judges, et al). He was also a semi-standard presence in film noir, appearing in such classics as Force of Evil , He Walked by Night and The Enforcer as both good cop and occasional heavy.
When Roberts made the move to TV he began to include more work in comedies. The 1950s and 1960s would prove him to be a most capable foil to a number of prime sitcom stars including Gale Storm and Lucille Ball . His patented gruff and exasperated executives often displayed their prestige by the mere use of initials, such as "W.W." and "E.J." While he never landed the one role on film or TV that could have led to top character stardom, he nevertheless remained a solid and enjoyable presence, a character player who added stature no matter how far down the credits list.
A stocky man for most his life, Roberts gained considerable girth in the late 1960s, which made his characters even more imposing. He died of a heart attack on May 28, 1975, in Los Angeles and was buried in Fort Worth, Texas. He was survived by his wife, actress Lillian Moore .
Pedro Armendáriz
Born in Mexican revolution times, Pedro Armendáriz was the first child of Mexican Pedro Armendáriz García-Conde and American Adele Hastings. He was raised in Churubusco, then a suburb of Mexico City, before the family traveled to Laredo, Texas. They lived there until 1921, the year Armendáriz' parents died. His uncle Francisco took charge of his education, and young Pedro went to the Polytechnic Institute of San Luis Obispo, California. There, he studied business and journalism. He graduated in 1931 and returned to Mexico City where he found work as a railroad employee, insurance salesman and tourist guide. He was discovered by director Miguel Zacarías when Armendáriz was reciting Hamlet's monologue (to be or not to be) to an American tourist in a cafeteria.
After that, Armendáriz began a brilliant career in Mexico, the United States and Europe. Together with Dolores del Rio and Emilio Fernández , Armendáriz made many of the greatest films in the so-called Mexican Cinema Golden Era: Flor silvestre , Bugambilia , María Candelaria (Xochimilco) , among others. He was considered a prototype of masculinity and male beauty. His green eyes and almost perfect features made him perfectly cast in any role he made. But it was his passion, force and acting abilities, combined with his quality of a gentleman what made him an instant favorite of great directors like John Ford , international costars like María Félix , Sean Connery or Susan Hayward , and his fans in Mexico and other countries.
Rudolf Klein-Rogge
During the heyday of German silent cinema, Rudolf Klein-Rogge was the prototype for the master criminal, the irredeemable arch villain or mad scientist. Born in Cologne, he served as a cadet in a Prussian military academy before finishing his matriculation. He then began to attend acting classes and studying art history in Berlin and Bonn, making his debut on the stage in 1909. After playing in theatres in towns and cities along the Rhine and northern Germany for nearly ten years, he started making films in 1919.
His villainous roots first came to the fore in The Cabinet of Dr. Caligari , but he really established his reputation in a series of classic expressionist films written by his then-wife Thea von Harbou and directed by Fritz Lang . Of these, the most memorable were his forceful Moriarty-inspired portrayals of the titular character in Dr. Mabuse: The Gambler , and its later sequel, The Testament of Dr. Mabuse . The latter, which has an evil mastermind directing his empire from a madhouse, was so obviously aimed at the Hitler regime, that it was banned by Joseph Goebbels . Klein-Rogge's other noteworthy appearances include King Etzel in Die Nibelungen: Siegfried and Die Nibelungen: Kriemhild's Revenge ; and his insane scientist C.A. Rothwang, creator of the robot creature in Fritz Lang's masterpiece Metropolis . A powerful personality possessed of an almost hypnotic stare and a strong, resonant voice, Klein-Rogge continued on through the 1930's in supporting roles. However, the period of expressionist cinema in Germany had all but run its course and he died in relative obscurity in Graz, Austria, in April 1955.
Billy De Wolfe
Most certainly egged on by the dandified antics of an Edward Everett Horton , Eric Blore and/or Franklin Pangborn , burlesque clown Billy DeWolfe in turn gave obvious inspiration to such effete cutups as Paul Lynde and Charles Nelson Reilly . Billy's life was one hundred percent show business from start to finish in a career that lasted five decades, and it took everything, including the proverbial vaudeville hook, to get the delightful ham off the stage he craved and loved so well.
Christened William Andrew Jones, he was the son of a Welsh-born immigrant and bookbinder. Born in Massachusetts, the family returned to Wales almost immediately and did not come back to the States until Billy was nine years old. He began his career in the theater as an usher until he found work as a dancer with a band. He subsequently took his name from a theater manager, William De Wolfe, who actually offered him his name. Billy developed his own comedy/dance act and originally played the vaudeville circuit as part of a duo or trio. In London for five years, he eventually went solo and was given the chance to play the London Palladium at one point. He returned to America in 1939 and enjoyed notice as a prime radio and nightclub performer/impressionist, appearing in satirical revues, sometimes in drag, with great results.
Billy enlisted in the U.S. Navy in 1942 shortly after completing his first movie role as a riverboat conman in Dixie for Paramount. In civilian clothes again by war's end, he returned to Paramount and brought hyper comedy relief to a number of films including Miss Susie Slagle's , Our Hearts Were Growing Up and The Perils of Pauline . He then instigated what would become his suitor prototype. With trademark mustache and spiffy duds, he assumed the role of the highly ineffectual, fastidious, self-involved bore who loses the girl, in Dear Ruth , one of his biggest film triumphs, which was followed by two "Dear..." movie sequels. Old-fashioned musicals were definitely his cup of tea and he was easily fit into such nostalgic fare as Tea for Two and Lullaby of Broadway . One of his other film highlights includes getting snitty with bombastic Ethel Merman in Call Me Madam .
Irrepressible and definitely hard to contain for film (not to mention difficult to cast due to his mincing mannerisms), Billy focused instead on the live stage. He won the 1954 Donaldson Award for the NY production of "John Murray Anderson's Almanac," returned to London in command performances, and revisited Broadway in the last edition of "The Ziegfeld Follies" in 1957. Better yet was his pompous performance in the musical "How to Succeed in Business Without Really Trying" On TV he was a mildly popular raconteur on the talk show circuit. Fussy "second banana" series roles took up his final decade of acting with such comedy series showcasing the likes of Imogene Coca , Phyllis Diller and Doris Day , who became a very close friend.
A lifelong hypochondriac, Billy was about to take on the role of Madam Lucy in a 1973 Broadway revival of "Irene" when the ravages of lung cancer forced him to leave the show before rehearsals even began. Character player George S. Irving replaced Billy and went on to win a "supporting actor" Tony for his wild efforts. Billy lost his fight at age 67 in 1974.
George E. Stone
A minor prototype of the "Runyon-esque" character for more than three decades, Polish-born actor George E. Stone (né George Stein) was in actuality a close friend of writer Damon Runyon and would play a host of colorful "dees, dem and dos" cronies throughout the 1920s, '30s, and '40s. With great names such as Johnnie the Shiek, Boots Burnett, Ice Box Hamilton, Wires Kagel, Ropes McGonigle, Society Max, and Toothpick Charlie, Stone delighted audiences in scores of crimers for decades. A vaudeville and Broadway hoofer in the interim, the runt-sized Stone (5' 3") finally scored in his first "grownup" part as the Sewer Rat in the silent drama 7th Heaven starring the once-popular romantic pair Charles Farrell and (Academy Award winner) Janet Gaynor . As "Georgie" sounded too child-like, he began billing himself as "George E. Stone." From there he was featured in a number of "tough guy" potboilers, particularly for Warner Bros. So typed was he as a henchman or thug, that he found few films outside the genre. His gunsels often possessed a yellow streak and could be both broadly comic or threatening in nature, with more than a few of them ending up on a morgue slab before film's end, including his Earl Williams on The Front Page and Otero in the classic gangster flick Little Caesar . Stone's most popular role of the 1940s was as The Runt in the Boston Blackie film series which ran from 1941 to 1948 and starred Chester Morris . Suffering from failing eyesight in later years, he was virtually blind by the late 1950s but, thanks to friends, managed to secure sporadic film and TV work. From 1958 on, Stone could be glimpsed in a recurring role on the popular courtroom series Perry Mason as a court clerk. Married to second wife Marjorie Ramey in 1946, he died following a stroke in 1967 in Woodland Hills, California, and was survived by two sisters.
Eugene O'Neill
Eugene O'Neill, the winner of four Pulitzer Prizes for Drama and the 1936 Nobel Prize for Literature, is widely considered the greatest American playwright. No one, not Maxwell Anderson , Tennessee Williams , Arthur Miller , nor Edward Albee , approaches O'Neill in terms of his artistic achievement or his impact on the American theater.
James O'Neill , one of the most popular actors of the late 19th century, was his father, so one could say that Eugene O'Neill was born to a life in the theater. His father, who had been born into poverty in Ireland before emigrating to the United States, developed his craft and became a star in the theaters of the Midwest. He married Mary Ellen "Ella" Quinlan, the Irish-American daughter of a wealthy Cleveland businessman, whose death when she was a teenager had hurt her emotionally. She remained emotionally fragile throughout her life, a condition exacerbated by a further tragedy, the loss of a child. A further strain was placed on her when it was discovered that James had lived in "concubinage" with a common-law wife who later sued him for child support and alimony, claiming he had fathered her child. Both were pious and believing Catholics.
They had three sons, including James Jr. (born 1878) and Edmund (1883), who died at the age of two from measles, leaving Ella distraught. Their last son, Eugene Gladstone O'Neill (his middle name a salute to the British prime minister who was in favor of home rule for Ireland), was born at the Barrett Hotel (home of many theatrical artistes) in New York City, on October 16, 1888. Supposedly, it was a difficult delivery, and in the spirit of the times, Ella was given morphine for her pain. She became an addict.
James O'Neill made a fortune playing The Count of Monte Cristo, both on Broadway in multiple productions and as a touring show. However, he suffered an artistic death as a performing artiste through the sheer repetition of the Monte Cristo role, which he turned to repeatedly as it always proved a success. He reportedly played the role at least 4,000 times, perhaps nearly twice that number. He would provide the prototype for the character of James Tyrone, the pater familias in his son's "Long Day's Journey Into Night". James O'Neill Sr. knew that he had suffered artistically from his commercial instincts, and Eugene never forgot that. His son remained steadfast in his own fidelity to his principles of artistic integrity.
The father also was a notorious skinflint, terrified that some unforeseen calamity would throw him back into the hellish poverty of his childhood in Ireland. Both young Gene and his older brother Jamie tried their hands at acting, and though Jamie was more successful than Gene, he never developed a significant, independent career as a professional thespian due to instability caused by his alcoholism. Jamie relied on his father for work, which further fueled his drinking.
Jamie was a full-blown alcoholic, just like his younger brother, Gene, and he drank himself to death at a relatively young age, a fate Gene managed to avoid, but not from lack of trying. The characters of Jamie in "Long Day's Journey Into Night" and James Tyrone Jr. in "A Moon for the Misbegotten" were based on him.
As a young man, Eugene suffered from tuberculosis, which likely exacerbated his propensity for pessimism (the stuff of his life became the guts of his last masterpiece, "Long Day's Journey Into Night"). His pessimistic, tragic outlook on life likely was hereditary: O'Neill's two sons, Eugene O'Neill Jr. and Shane O'Neill, became substance abusers as adults: Eugene Jr. was an alcoholic and Shane was a heroin addict. Both committed suicide. He disowned his daughter Oona Chaplin , for marrying Charles Chaplin , who was just six months younger than O'Neill himself. He had never had much to do with her anyway, nor any of his children. His life was devoted to writing.
After recovering from tuberculosis, O'Neill attended Princeton for the 1907-08 term, but was kicked out after his freshman year, allegedly for being drunk and disorderly at a reception held by the university president, future President of the United States Woodrow Wilson . For the next eight years he led a freebooting existence, fortune-hunting for gold in South America and plying the seas as an able-bodied seaman, while trying to drink himself to death (he even made an attempt at suicide). Eventually he returned to New York City and tried his hand at playwriting, and with the financial help of his father, studied playwriting at Harvard in 1915. His father was unimpressed by the results, and died the same year his son made his big breakthrough on Broadway (he did live to see the production of Eugene's first full-length play, "Beyond the Horizon", which opened on February 2, 1920 and ran for a then-impressive 111 performances, and its honoring with the 1920 Pulitzer Prize for Drama that May. James O'Neill Sr. died on August 10, 1920. His namesake, James O'Neill Jr., died three years later, at the age of 45.)
Where Eugene truly learned his craft was in the writing of one-act melodramas that dealt with the lives of sailors, that were performed by the Provincetown Players, which had theaters in Provincetown on Cape Cod and off of Washington Square in New York City ( John Ford made a 1940 movie out of four of his sea plays, collected in The Long Voyage Home ). The theater he created was a reaction against the theater of his father, the old hoary melodramas that packed them in for a night of crowd-pleasing entertainment.
Eugene started out as a dramatist at a time when there was an average of 70 plays being performed on Broadway each week. The Great White Way resembled a modern movie multiplex in that potential theatergoers would peruse the various marquees in and around Times Square seeking an entertainment for the night. At the time O'Neill began to establish himself, in pre- and post-World War I era, entertainment was first and foremost in most people's minds.
The movies and O'Neill would change that. The competition of the more sophisticated movies of the late silent era, and then the talkies, usurped the position of Broadway and the theater as the premier venue for American entertainment. The light plays that were the equivalent of television fare became extinct. Musicals continued to thrive, as did comedies, but drama became more serious and developed a psychological depth. O'Neill was the midwife of the phenomenon.
Eugene O'Neill helped foster the maturation of American drama, as he incorporated the techniques of both European expressionism and realism in his work. Influenced by Henrik Ibsen and August Strindberg , brought to the American stage a tragic vision that influenced scores of American playwrights that followed.
Eugene O'Neill died in the Shelton Hotel in Boston, Massachusetts, in 1953. Allegedly, his last words were, "Born in a hotel room, and goddammit! Died in one!" His health had been hurt by his alcoholism and he suffered from Parkinson's disease-like tremors of his hands that had made it difficult, if not impossible, to write since the early 1940s. It is believed that he suffered cerebellar cortical abiotrophy, a neurological disease in which certain neurons in the cerebellum of the brain die off, adversely affecting the balance and coordination of the sufferer. As a dramatist, he had flourished on Broadway from 1920, when his first full-length work, "Beyond the Horizon", debuted, winning him his first Pulitzer, until 1934, when his first and only comedy, Ah, Wilderness! (debut October 1933) came to an end that June and his play, "Days Without End," was staged in repertory between January and November). After 1934, he entered a cocoon, staying away from Broadway until after World War II, when the 1946 production of "The Iceman Cometh" debuted. The first production of "Iceman" failed, and O'Neill's reputation suffered, but the 1956 production of "Iceman" starring Jason Robards and directed by José Quintero was a great success, as was the posthumous production of "Long Day's Journey Into Night", which brought O'Neill his fourth Pulitzer. The two plays solidified his legend.
Mary Carlisle
She was the standard prototype of the porcelain-pretty collegiate and starry-eyed romantic interest in a host of Depression-era films and although her name may not ring a bell to most, Mary Carlisle enjoyed a fairly solid decade in the cinematic limelight. The Boston-born, blue-eyed blonde was brought to Hollywood in 1916, at age 4, by her mother after her father passed away. The story goes that the 14-year-old and her mother were having lunch at the Universal commissary when she was noticed by producer Carl Laemmle Jr. who immediately gave her a screen test. Her age was a hindering factor, however, and Mary instead completed her high school studies before moving into the acting arena. An uncle connected to MGM helped give the young hopeful her break into the movies as a singer/dancer a few years later. Mary started out typically as an extra and bit player in such films as Madam Satan , The Great Lover and in Grand Hotel in which she played a honeymooner. The glamorous, vibrant beauty's career was given a build-up as a "Wampas Baby Star" in 1933 and soon she began finding work in films playing stylish, well-mannered young co-eds. Although she performed in a number of lightweight pictures such as Night Court with Anita Page , Murder in the Private Car starring Charles Ruggles and It's in the Air toplining Jack Benny , she is perhaps best remembered as a breezy co-star to Bing Crosby in three of his earlier, lightweight 30s musicals: College Humor , Double or Nothing and Dotor Rhythm . In the last picture mentioned she is the lovely focus of his song "My Heart Is Taking Lessons". Her participation in weightier material such as Kind Lady , was often overshadowed by her even weightier co-stars - in this case Basil Rathbone and Aline MacMahon . Disappointed with the momentum of her career and her inability to extricate herself from the picture-pretty, paragon-of-virtue stereotype, Mary traveled and lived in to London for a time in the late 30s. Following her damsel-in-distress role in the horror opus Dead Men Walk with George Zucco and Dwight Frye , Mary retired from the screen prompted by her marriage to James Blakeley , a flying supervisor, the year before. The Beverly Hills couple had one son. Her husband, a former actor who also appeared in 30s musicals with Crosby as a dapper second lead ( Two for Tonight ), later became an important executive (producer, editor, etc) at Twentieth Century-Fox. In later years Mary managed an Elizabeth Arden Salon in Beverly Hills. Recently receiving a star on the Hollywood Walk of Fame. Her husband passed away in 2007.
Josef von Sternberg
Josef von Sternberg split his childhood between Vienna and New York City. His father, a former soldier in the Austro-Hungarian army, could not support his family in either city; Sternberg remembered him only as "an enormously strong man who often used his strength on me." Forced by poverty to drop out of high school, von Sternberg worked for a time in a Manhattan store that sold ribbons and lace to hat makers. A chance meeting in Prospect Park, Brooklyn, led to a new career in the cleaning and repair of movie prints. This job provided an entrée to the film production industry, then flourishing in Fort Lee, New Jersey. As an apprentice film-maker, from around 1916 to the early 1920s, von Sternberg developed a lasting contempt for most of the directors and producers he worked for (an exception was Emile Chautard , who acted in some of Sternberg's films of the 1930s), and was sure that he could improve on their products. Staked to a few thousand dollars -- even then an absurdly small budget -- von Sternberg proved himself right with The Salvation Hunters , which became a critical and financial hit. For the next couple of years he seesawed between acclaim and oblivion, sometimes on the same project (for instance, he received the rare honor of directing a film for Charles Chaplin , but it was shelved after only one showing and later disappeared forever). His commercial breakthrough was Underworld , a prototypical Hollywood gangster film; behind the scenes, von Sternberg successfully battled Ben Hecht , the writer, for creative control. With The Last Command , starring the equally strong-willed Emil Jannings , von Sternberg began a period of almost a decade as one of the most celebrated artists of world cinema. Both his film career and his personal life were transformed in the making of The Blue Angel . Chosen by Jannings and producer Erich Pommer to make Germany's first major sound picture, von Sternberg gambled by casting Marlene Dietrich , then obscure, as Lola Lola, the night-club dancer who leads Jannings' character into depravity. The von Sternberg-Dietrich story, both on-screen (he directed her in six more movies) and off (he became one of her legions of lovers, more in love with her than most) is a staple of film histories. His films of the mid-'30s are among the most visionary ever made in Hollywood, but in spite of their visual sumptuousness, contemporary audiences found them dramatically inert. The films' mediocre box office and a falling-out with Ernst Lubitsch , then head of production at Paramount Pictures (Sternberg's employer), meant that after The Devil Is a Woman he would never again have the control he needed to express himself fully. In his sardonic autobiography, he more or less completely disowned all of his subsequent films. In spite (or perhaps because) of his truncated career and bitter personality, von Sternberg remains a hero to many critics and filmmakers. His best films exemplify the proposition, as he put it, that in any worthwhile film the director is "the determining influence, and the only influence, despotically exercised or not, which accounts for the worth of what is seen on the screen."
Bernadette Lafont
Bernadette Lafont was born at the Protestant Health Home of Nîmes in Gard, the only child of a pharmacist and a housewife from the Cévennes. Her mother always wanted a boy to name Bernard and, once she gave birth to a girl, she enjoyed to hold this against all the catholics she knew as the proof that their God either was blind or didn't exist. Often dressed as a boy and nicknamed Bernard, Bernadette nevertheless had a great relationship with her parents. Having spent part of her childhood in Saint-Geniès-de-Malgoirès, she returned to Nîmes where she took ballet lessons at the local Opera House. She proved to be a gifted student and she did three little tours and about twenty galas there. An extroverted girl with a fervent imagination, she used to spend her holidays at the Cévennes family mansion playing dress-up with her friend Annie, along whom she used to pretend to be an actress from an imaginary West End Club, working in Italian cinema: doing this started to win her a lot of male attention. She also began to develop a passion for film from an early age, adopting Brigitte Bardot and Marina Vlady as role models.
On the summer of 1955, the "Arènes" of Nîmes hosted a Festival of Dramatic Arts for the second time: 40 actors came from Paris while 50 regional aspiring thespians and 30 dancing students were recruited on the place. The main attraction was a production of "La Tragédie des Albigeois", a new play which featured music by Georges Delerue and starred, in the leading roles, the acclaimed stage veteran Jean Deschamps and a talented young actor called Jean-Louis Trintignant , who would go a long way from there. The play also offered bit parts to future directing genius Maurice Pialat , Trintignant's then wife Colette Dacheville (the future Stéphane Audran ), and the skilled Gérard Blain , who, by then, had already appeared in a handful of movies, although usually in uncredited roles. Having seen Gérard on his way to a rehearsal at the "Arènes", Bernadette was immediately won over by his "bad boy" charm and decided to walk around the place (which had ironically been the spot of her parents' first encounter) to catch his attention: she did. Already separated from wife Estelle Blain , Gérard immediately developed a great interest in Bernadette, stating that he was willing to bring her to Paris to introduce her to certain people at the Opera House and stating how glad he was that she didn't have any interest in pursuing an acting career, something he regarded, in a woman's case, as a road to perdition. After she finished her studies, Bernadette's parents gave her permission to marry Gérard and she did so in 1957.
Blain found his first relevant film role in Julien Duvivier 's brilliant thriller Deadlier Than the Male and Bernadette spent a lot of time with him on the movie's set, something that made her fascination with cinema grow even bigger. The film opened to positive reviews and was also lauded (quite an oddity for a Duvivier feature) by the ruthless "Cahiers du Cinéma" critics, including the young François Truffaut , who called Blain "the French James Dean ". Gérard decided to give the critic a phone call to thank him for the kind words and, after the two had a couple lunches together, Truffaut ended up making him a work offer. It's always been very hard for film critics to point at a specific work as the undisputed start of the French New Wave: for many people it's Agnès Varda 's La Pointe Courte , but the director herself never wanted to be bestowed this honor and prefers to be considered a godmother to the movement. Others think that the roots of this new school of cinema can be found in the early shorts of Jacques Rivette , Jean-Luc Godard and Truffaut. The latter's The Mischief Makers is certainly one of the most significant of these ground-breaking works and happens to be the project for which Blain was recruited. Truffaut wanted to shoot the short in Nîmes and, with the exception of Gérard, he hired only non-professional actors: this included several local children and, of course, Bernadette. The mini-feature is centered around two lovers, Gérard (Blain) and Bernadette Jouve (Lafont), who are spied on by a group of children and are separated forever once he leaves for a mountain excursion from which he will never return. The character of Bernadette, a head-turner who becomes a great object of attention wherever she goes, was very much based on the real-life Lafont, just like her relationship with her beau Gérard (who has to leave Nîmes for three months, promising to marry her at his return) was very much reminiscent of her engagement to Blain. The two actors stayed at the house of Bernadette's parents for the entire shooting of the short. She chose to act in bare feet the whole time to make a homage to Ava Gardner in The Barefoot Contessa and, at the same time, a favour to Blain, not exactly a man of exceptional height. When he had married Bernadette, Gérard had sworn to himself that his new wife would have never stolen the spotlight from him like Estella had previously done: unfortunately for his plans, he was soon going to be sorely disappointed. Truffaut managed to get the best out of the young actress through rather unorthodox methods at times (like threatening to slap her hadn't she cried convincingly), but they established a great chemistry in the end and he taught her not to look at someone like Bardot as a source of inspiration, since the big star didn't possess any gift Bernadette should have been jealous of. "Les Mistons" turned out to be a little gem which already contained all the best elements of the great director's cinema. During the shooting, Bernadette got to know many other key figures of the upcoming French New Wave, including Rivette, Paul Gégauff and Claude Chabrol . The latter had already asked her to appear in his debut feature film by the time Truffaut had proposed her to star in "Les Mistons": she had accepted both offers simultaneously and, once the shooting of the short movie was over, she immediately embarked on another adventure.
Chabrol's atmospheric Le Beau Serge is now officially considered the movie that kickstarted the French New Wave: it was shot in Sardent, where the director had spent many of his childhood years. The main cast was formed by Bernadette, Gérard and another young actor called Jean-Claude Brialy , who would soon become a cornerstone of French cinema in general and an assiduous presence in New Wave movies in particular. The movie takes place in a community of drunkards and is centered around the relationship between the rebellious Serge (Blain) and his better balanced friend François (Brialy). Bernadette got the juicy role of Serge's slutty sister-in-law and lover, Marie. This role of a very impudent and provocative woman of slightly vulgar charms allowed her to introduce the French audience to a new female image that was very much different from the ones usually found in the cinema of the period and worked as a prototype to the unforgettable gallery of "bad girl" types her cinematic work will forever be strictly associated to. The movie was very much praised along with the great performances of its actors. Bernadette was immediately featured on the cover of a recent edition of "The Cahiers du Cinéma" along with Brialy. Her rise in popularity had predictably an immediate negative impact on her relationship with Blain. The two male stars of "Le Beau Serge" were paired again in Chabrol's subsequent feature, the least interesting Les Cousins , but, this time, the leading female role was given to an absolutely unremarkable Juliette Mayniel . Bernadette started to grow more and more bored as Gérard was away from home to shoot the movie and even tried to contact him on the set asking for a divorce.
Bernadette teamed up again with Chabrol in the director's third released feature , Leda , which didn't work as well as a thriller rather than as an ironic spoof on the clichés of the genre and actor piece. The film's acting laurels go undoubtedly to Bernadette as a saucy waitress, Jean-Paul Belmondo as a cheeky young man with an alcohol problem and the glorious Madeleine Robinson (rightly awarded with a Volpi Cup at Venice Film Festival) as a troubled wife and mother. By the end of the year, Bernadette had eventually divorced from Blain and gotten into a relationship with a Hungarian sculptor she had known on her 20th birthday, Diourka Medveczky . 1960 was a turning point for her, as the work she did helped cementing her status as the female face of the New Wave. L'eau à la bouche was the first and most famous feature of Jacques Doniol-Valcroze , another critic of the Cahiers who wanted to follow the same path of his colleagues turned directors and decided to call Bernadette after seeing "Le Beau Serge". The superb Les Bonnes Femmes was Chabrol's fourth movie and remains one of his masterworks. The film follows four girls (Bernadette, Stéphane Audran, Clotilde Joano and Lucile Saint-Simon ) who are bored with their lives and waiting for a positive change to arrive, whether it's the coming of true love or the fulfillment of a dream. With many scenes set in the shop where the four characters work (a surreal place where time seems to have stopped), Chabrol was able to create something that seemed to come out of Sartre, managing to perfectly spread to the viewer the sense of loneliness and boredom weighing down the girls, seemingly trapped in the antechamber of hell. One of the film's strongest assets were three performances: tragic actress Joano gave a delicate and poetic portrayal of the ill-fated Jacqueline, Italian veteran Ave Ninchi added a lot of authority to her Madame Louise and, of course, Bernadette did the usual splendid job lending her energetic screen persona to Jane, the obvious haywire of the group, but, at the same time, a character more vulnerable and less gutsy than her usual creations. The movie allowed the actress to stretch her range and gave her a lot of good memories, such as pushing journalists on a swimming pool (which is at the heart of a key scene) along with Stéphane, somehow managing to galvanize the normally extremely shy girl. To appear in the movie, Bernadette had to decline the role of prostitute Clarisse (eventually played by Michèle Mercier ) in Truffaut's masterpiece Shoot the Piano Player , but it was a worthy sacrifice. The same year she gave birth to her first daughter with her now husband Diourka, the future actress Élisabeth Lafont , in the same health house where she was born. Bernadette's next collaboration with Chabrol was the remarkable Wise Guys , where she got her most memorable role so far as Ambroisine, a girl who gets recruited by Jean-Claude Brialy's Ronald to create trouble in an old-fashioned environment with her modern, liberated persona, but eventually becomes impossible for him to control because of her mean-spirited nature. Her anarchic side was used to full potential for the first time, something that lead to one of the best portrayals of dark lady in a New Wave movie. But, like the other characters in the film weren't ready for a new type of woman such as Ambroisine, the movie-goers of the period seemed unwilling to fall for the charms of this revolutionary type of woman Bernadette was bringing to the screen and "Les godelureaux" was a box office flop, just like "Les Bonnes Femmes" had been. The latter, now regarded as one of Chabrol's best, was also a critical disaster, although Bernadette got positive reviews for her performance. Watched today, it's clear that both movies outclass several entries from the director's most celebrated noir cycle from the late 60's to the early 70's. But considering the tepid impact that her movies used to have with the big public, Bernadette was seen just as a half-star and icon of niche cinema exclusively and her agent used to have much trouble in finding her roles at the time. Producer Carlo Ponti once offered her to come to Italy to do some movies: now that his wife Sophia Loren was moving to Hollywood (not exactly to electrifying results), he thought there was a void in Italian cinema that needed to be filled by a feisty, curvaceous actress. This proposal lead to nothing. A project with Godard never saw the light of the day. Rivette never bothered to answer a letter by Bernadette where she had asked him to cast her in his debut feature film, Paris Belongs to Us . She was offered her ticket to major stardom with Jacques Demy 's Lola , but she had to decline the title role in the movie because she was pregnant with her second child, David. The part eventually went to the limited Anouk Aimée , who gave the best acting she could ever be capable of, but it goes without saying that, had Bernadette played the part, she would have elevated the movie to entirely new levels.
The 60s, for most of the time, didn't prove to be a very happy decade for Bernadette as she got to face both a personal and professional crisis. Immediately after "Les Godelureaux", her talents were wasted in several obscure movies and shorts. In 1962 she appeared in And Satan Calls the Turns , which boosted a high-profile cast, but was scripted by Roger Vadim , something that predictably sealed the movie's fate. Although officially directed by one-shot filmmaker Grisha Dabat , the film contained all the worst elements of Vadim's cinema and Bernadette was given such a thankless role that not even she could elevate it. One year later she was without an agent and took a break from acting, also to give birth to her third daughter, the future actress Pauline Lafont . The passion between her and Diourka had cooled down by now and the main reason they stayed together for a few years more was their common love for cinema: he was indeed planning to make his directorial debut. For the time being, they tried to make it work by opting for an open marriage where both enjoyed plenty of extra-conjugal affairs. Bernadette's friends Truffaut and Chabrol couldn't really come to her rescue either. The first sent her a letter which read: "You chose life. I chose cinema. I don' think our paths will ever cross again". The second was now engaged to Audran and was soon to enter a second phase of his career, one where he regularly did films whose central female characters weren't witty, animated provincial girls, but frozen, humourless bourgeoisie ladies that were tailor-made for Stéphane. In 1964, Bernadette had a rather unhappy "rentrée" with Male Hunt , a very disappointing comedy made by the talented Édouard Molinaro on an utterly unfunny script by Michel Audiard . Her role as a prostitute was hardly one minute long, but she had little money and a ton of debts at the time, so she had to accept everything she was offered. During the decade, she found work in a few more resonant projects such as Louis Malle 's The Thief of Paris , Costa-Gavras 's Compartiment tueurs and Jean Aurel 's Lamiel , but she was given very indifferent roles in all of them. Once again, going after unusual projects by new, alternative auteurs was the decisive factor that helped her putting her career back on track. In Diourka's remarkable first work, the short Marie et le curé , she shined as a provocative young woman who seduces a priest to nefarious consequences for both. Shortly after, she appeared in the silent movie Le révélateur , which was directed by her love interest of the time, Philippe Garrel , and co-starred Laurent Terzieff , opposite whom she had always dearly desired to act. The film was shot in Spain and Bernadette helped funding it thanks to a loan from Chabrol. At around the same time, she also shot the "conjoined" shorts Prologue and Piège , which were written and directed by Jacques Baratier and co-starred the great Bulle Ogier . Having seen Bulle in her most acclaimed film role in Rivette's titanic achievement L'amour fou , Bernadette had been astonished by the actress' monstrous amount of talent and was a bit scared by the thought of having to cross blades with her. As two thieves locked in a mysterious house by a vampiresque entity, the two actresses went on to gave a great lesson in metaphysical acting. Closer to an example of visual arts or Noh theatre than a cinematic work, Barratier's double short may feel too extreme even to some New Wave purists, but is nevertheless a fascinating watch and a must-see for the fans of the two ladies, equally impressive in the acting department and perfectly suited to create the needed physical contrast, with the taller brunette adding an earthy element and the petite blonde providing an ethereal quality. Bernadette and Bulle developed a beautiful friendship which lead to several other collaborations. In 1969, Diourka made his first feature film, Paul . Jean-Pierre Léaud , a cult actor if there ever was one, had loved the Hungarian sculptor's previous shorts and sent him a letter asking to work with him, so that he would add another unique title to his genial filmography. He so earned the honour to play title character in Diourka's (only) film, as a little bourgeois who escapes from his family, joins a group of sages and meets temptation in Bernadette's form. None of these works really gave the actress a major popularity boost, however. Unlike fellow female standouts of the New Wave such as Ogier, Edith Scob , Delphine Seyrig , Jeanne Moreau and Emmanuelle Riva , Bernadette didn't have theatrical roots, but this didn't prevent her from appearing in stage productions of Turgenev's "A Month in the Country" and Picasso's surrealist play "Le désir attrapé par la queue" in this period. The official start of her career renaissance came, however, at the end of the decade with Nelly Kaplan 's A Very Curious Girl , a retelling of sorts of Michelet's "La Sorcière". Conceived as a monument to her talents, the transgressive movie stars Bernadette as Marie, a village girl who becomes a prostitute to settle a score with society (winning male and female hearts alike) and eventually gets revenge on all her men clients. The vendetta bit had been inspired by an off-screen feud between director Kaplan (an angry feminist) and actor Michael Constantin , who had refused to recite the line 'they were very happy and didn't have children" because he was a family man and opted for a more prudish "they were very happy and had children" instead. Bernadette's fearless performance had such a huge impact that, after the film's release, she got offers to star in porn features along with obscene proposals from the more misguided moviegoers. Once again, the public had proved not to have understood what kind of woman she represented, but auteur cinema was now going to welcome her back to a fuller extent.
The 70's were definitely a more successful decade for Bernadette. She was still seen as an alternative actress and was hardly ever offered traditional roles in conventional movies, but she didn't care about it, since she felt more at home in unique experiments such as La ville-bidon , Valparaiso, Valparaiso or Sex-Power . Moshé Mizrahi 's feminist dramedy Sophie's Ways offered her one of her best parts as the rebellious wife of an excellent Michel Duchaussoy in one of his least charming roles. Jean Renoir himself was knocked out by her performance. In 1971, Bernadette finally got to work with Rivette for the first time in the director's epic Out 1 , originally conceived as an 8 part mini-series to sell to French TV. The movie is centered around 12 main characters that work as pieces of an intricate puzzle and Bernadette was teamed up with several acting heavyweights such as Michael Lonsdale , Françoise Fabian , Juliet Berto and her former co-stars Léaud and Ogier. She played the role of Lonsdale's ex-girlfriend, a writer he tries to recruit for his mysterious dancing group. The actress, unlike other cast members, wasn't used to Rivette's working method, which involved little explanations and a lot of room for improvisation. Since it took her a lot of time to adapt to this style, she was reproached by the director, who harshly accused her of having chosen not to do anything, therefore hurting her feelings. Eventually these words helped Bernadette to find a way to incorporate her "handicap" into the character, imagining that Marie was experimenting writer's block like she had found herself unable to act. A scene where she and Léaud kept just staring at each other because they didn't know what to say was kept by Rivette because he liked the authentic feeling about it. Eventually French TV never bought "Out 1". Rivette also cut it down to 4 hours in the form of Out 1: Spectre , but both versions were hardly released outside of festival circuits. One year later, Bernadette got to play her best remembered and most iconic role: Camille Bliss in Truffaut's underrated black comedy A Gorgeous Girl Like Me . As a girl who's released from prison so that she can be analyzed by a student of criminology, the actress got to play a role that exemplified her career (being 'one of a kind') and felt like the summation and sublimation of all the naughty ladies she had played before: of coarse manners and vulgar laughter, indomitable, unstoppable, irreverent, incandescent and more of a destructive force that she had ever been in any of her previous movies, including "Marie et le Curé" , "La fiancée du pirate" and "Les godelureaux". Her performance won her the "Triomphe du Cinéma Français" and was stellarly received in the US, with "Newsweek" and the "New York Magazine" giving it such phenomenal praise that a French journalist wrote this comment: "Bernadette Lafont, historical monument to the U.S.A.". After bringing the female type she so often personified to its definitive cinematic form, Bernadette gradually started her image makeover. The first example was in Jean Eustache 's supreme masterpiece The Mother and the Whore , where she would have been the logical choice to play the title "whore" Veronika, but was actually given the touching role of the title "mother" Marie. Eustache, another former critic of the Cahiers had known her for about ten years and given her the script in 1971. After reading a couple pages she had been immediately won over and realized how much she desired to do it. The director's towering 4 hour achievement is centered around a love triangle formed of Eustache's screen alter-ego Alexandre (Léaud in his very best performance), slutty nurse Veronika (non-professional actress Françoise Lebrun , whose angelic appearance provided the perfect contrast with the nature of the character) and Bernadette's Marie, Alexandre's patient girlfriend who enjoys a very open relationship with him. Managing to convey an entire era in the characters' long, sublime dialogues, Eustache easily made one of the greatest and most significant movies of the French New Wave. Bernadette's portrayal of Marie showed a vibrant, affecting sensitivity that she had hardly done before, giving further demonstration of her talent and versatility. The film was shown in competition at the 1973 Cannes film festival, where it predictably got a mixed reception: some, including Jury President Ingrid Bergman , hated it, while others worshiped it as the future of cinema. In the end, Eustache was given the Grand Prize of the Jury. The same year, Bernadette also appeared in Nadine Trintignant 's Défense de savoir , which was no great shakes, but also starred two of the nation's top actors, Jean-Louis Trintignant and Michel Bouquet , both of which she greatly admired. She teamed up with the two again, respectively in The Probability Factor and Vincent mit l'âne dans un pré (et s'en vint dans l'autre) . She was particularly entertaining in the second as an eccentric rich lady, proving that she could be also very convincing at playing very chic and sophisticated characters. The movie ends on a high note with the actress giving an unforgettable, sexy laugh. Daughters Élisabeth and Pauline were also given roles in the movie. The final great role Bernadette played in this period was in Rivette's misunderstood masterpiece Noroît : Giulia, daughter of the Sun. Centred, like many of the director's works, on the dichotomy between light and shadow and day and night, the movie sees Geraldine Chaplin 's Morag ending up on a mysterious island ruled by an Amazon-like society where males are either enslaved or, like in her brother's case, murdered. A great revenge tale not without its 'steampunk' element, the film is certainly highlighted by the transforming performance of Bernadette as a ruthless, modern day Pirate queen, cutting one of her female minions' throat with one of the most frighteningly icy expressions ever recorded by a camera and eventually facing Chaplin in a climatic knife duel on the ramparts. Unfortunately, Rivette's previous feature Duelle had been so unsuccessful that "Noroît " wasn't even released and, to this day, it remains the director's least popular work, which means that many people aren't familiar with Bernadette's sinister, against type performance, which ranks with her very best and is undoubtedly one of the great villainous turns in New Wave cinema. By 1978 there had been another change of muse in Chabrol's movies, as an astounding 24 years old Isabelle Huppert headlined the cast of one of his best works, Violette , the first of a series of successful collaborations which included the director's number one masterpiece, La Cérémonie . Bernadette was given a brief, but memorable cameo as Violette's cellmate. This 1969-1978 period easily represents the zenith of her career. After that, it was a bit difficult for her to deal with the changing times.
By the end of the 70's, most of the New Wave auteurs had moved on to more conventional projects and French cinema was entering a far less creative phase. Bernadette's desire to constantly challenge herself and look for different, ground-breaking projects often lead her to be part of totally unremarkable movies. Her nadir was probably represented by her two collaborations with Michel Caputo , arguably the worst French director to ever work with name actors (before he exclusively moved on to do porn under several aliases): Qu'il est joli garçon l'assassin de papa and Si ma gueule vous plaît... , two supposed comic works that would make Michel Audiard's comedies look like Bringing Up Baby in comparison. But, although the modern viewer can hardly believe the existence of such detrimental works, they actually weren't unusual products of their time, but clear evidence of a scary change of taste on the public's part. Actresses like Bernadette, who used to mainly work for an audience of intellectuals, had to struggle hard to keep afloat after this change of tide and, in the early 80's, she had to lend her talents to a dozen of movies that weren't worth it. The Lee Marvin vehicle Dog Day was the second occasion she found herself working with a mega-star in an international production since her cameo opposite the legendary Kirk Douglas in Dick Clement 's Swinging London abomination Catch Me a Spy . Although she was given a bit more to do this time around, this title didn't add anything to her filmography either. Luckily, this wasn't the case of Claude Miller 's An Impudent Girl a.k.a. "Impudent Girl". It's very ironic -and certainly not coincidental - that a movie going by this title and starring a 14 years old Charlotte Gainsbourg as a gutsy rebel would also feature Bernadette, who had, by all means, every maternity right on this type of character which had grown more and more diffused on the French screen thanks to her work. But the film had a much different flavour from the actress' vehicles from the 60's-70's: Gainsbourg's stubborn but ultimately good-hearted Charlotte is actually nothing like "Les Godelureaux"'s Ambroisine or "Une belle fille comme moi"'s Camille Bliss and Bernadette's Léone, the new love interest of Charlotte's father and mother of an asthmatic girl, is a very likable and moving character. Having moved on to more accessible projects, Bernadette naturally started to receive more award consideration as well, and her sweet, beautiful performance in Miller's movie was honored with a Best Supporting Actress César, one of the best and most inspired choices ever in the category. Her next project was Inspecteur Lavardin , the second and best movie centered around Jean Poiret 's unconventional police inspector and her first collaboration with Chabrol since "Violette". Wearing the most recurring name of the director's heroines, Hélène, she also dyed her hair blond for the first time on his wishes, so that she would have taken a step further in changing her screen persona. She liked the idea and would keep blond hair for the rest of her life. She worked with Chabrol for a seventh (and last) time only one year later in one of the director's most gothic-like works, the underrated Masques , which stars the great Philippe Noiret as a villainous TV presenter worthy of the pen of Ann Radcliffe , Christian Legagneur, who keeps an innocent Anne Brochet imprisoned in his imposing manor and wishes to kill her to get his hands on her fortune. The juicy role of Legagneur's masseuse won Bernadette a second nomination for the Supporting Actress César.
In 1988, Bernadette's life was sadly affected by a horrible personal tragedy. In August, she was spending a holiday in the Cévennes family mansion, La Serre du Pomaret, along with son David, daughter Pauline and painter Pierre De Chevilly, her new life mate. On the 11th day of the month, Pauline left the house early in the morning to have a long walk to lose weight. By midday she hadn't come back yet. The family began to worry and David started to look for her. Bernadette was unfortunately committed to appear in a TV show in Nice and she left with her heart in her throat, hoping that, in the mean time, David or Pierre would have found Pauline. That wasn't to be. The family lived many weeks in a state of anguish, using the TV show "Avis de Recherche" to diffuse some photos of Pauline in the hope that someone could have shed some light on the mystery. There were several false reports from people who claimed to have seen her and Bernadette kept fooling herself for a long time, wanting to believe that the quest would have been greeted with success. Tragically, on the 21st November, Pauline's body was found in a ravine. Her death was officially called a hiking accident, although its circumstances are still mysterious to this day and some people considered the suicide theory. Bernadette dealt with her devastating grief by throwing herself into her job: always an extremely prolific actress, she got to work more and more and, as a result, she added a lot of unremarkable titles to her resume. She would still find a few good parts in the following decades.
Between 1990 and 2013, the actress added over 70 titles to her film and TV resume. Her talents were rather wasted in Raoul Ruiz 's uneven Genealogies of a Crime and in Pascal Bonitzer 's delightfully cynical Nothing About Robert . She shined much more as an alcoholic mother in Personne ne m'aime (where she teamed up with Ogier and Léaud once more), a former teacher who almost ends up abducting her grandchildren in Stolen Holidays , an antique shop dealer who still has a great ascendancy over younger men in Bazar and a family matriarch in the comedy I Do opposite Alain Chabat and successor Gainsbourg. Her performance in this movie won her a third nomination for the Best Supporting Actress César. Her massive body of TV work from this period was highlighted by her performances in La très excellente et divertissante histoire de François Rabelais and La femme du boulanger . She also did more stage work than ever in the 2000s. Starting from 2010, she was again employed for a few projects that had a bigger impact. First she borrowed her wonderful, husky voice to a treacherous nanny in the lovely animated feature A Cat in Paris , which was Oscar-nominated. This nasty lady role felt like a homage to the characters that had made her famous. The following year, Bernadette and fellow New Wave legend Emmanuelle Riva were unfortunately the latest victims of Julie Delpy 's game of playing director, as they were cast in the actress' catastrophic vanity project Skylab . Delpy's latest directorial feature contained all the typical elements that she thinks are enough to make a movie: a seemingly endless family reunion, characters talking about hot hair around a table and a few off-colour gags here and there. The two glorious veterans, sadistically mortified by the granny look they had to sport, did the best they could with the material they were given, but it was just too little to begin with and, consequently, they can't possibly be considered a real redeeming factor of the terribly written, lacklusterly directed and otherwise insipidly acted film. In 2012, Bernadette got her best role in years as the title character in Jérôme Enrico 's black comedy Paulette . Enrico's pensioner version of Breaking Bad sees Bernadette's Paulette, a penniless, xenophobic widow, finding herself in a Walter White type of situation as she gets into drug dealing to make a living and begins to smuggle hashish right under the nose of her son-in-law, a coloured cop. The actress was immediately won over by the script, finding it modern and socially significant and decided to give a strong characterization to her character. Getting inspiration from Charles Chaplin 's heroes and Giulietta Masina 's performance in La Strada , she provided Paulette with a clown side which came complete with a funny walk and her leading turn proved absolutely irresistible. The film opened to positive reviews and got more visibility outside France than Bernadette's latest vehicles and many were foreseeing another career renaissance for her. Sadly, it wasn't to be.
In early July 2013, Bernadette was on her way to her family mansion in Saint-André-de-Valborgne (Gard) when she was the victim of a stroke. Forced to stay in Grau-du-Roi for a while, she had a second one on the 22nd and was quickly moved to the University Hospital centre of Nîmes, where she tragically died three days later. Her funeral took place at the Protestant temple of Saint-André-de-Valborgne on the 29th. Her passing was a cause of great grief for an enormous number of people, as she had gradually become a huge favourite of the French audience and a cornerstone of their cinema, and her colleagues had always adored her on both a professional and personal level. The admiration she had earned through the years had been repeatedly proved by several career tributes, including an Honorary César, the title of Officer of the French Legion of Honour and medals from the "National Order of Merit" and the "Order of Arts and Letters".
Bernadette's legacy could never be extinguished, but, in addition to everything she had already bequeathed to cinema, she graced the silver screen for a last time even after her death through her final completed movie, Sylvain Chomet 's Attila Marcel . The movie, recently showed at Toronto film festival and released in French theatres, was greeted with positive reviews where big kudos were reserved to Bernadette's portrayal of the eccentric adoptive aunt of Guillaume Gouix 's protagonist. With the film's upcoming release in many more countries, plenty of others will have the bitter honour to see her eventually taking leave. Since the 25th October 2013, the Municipal Theatre of Nîmes has been renamed the Bernadette Lafont Theatre to honour the memory of the great actress. A once unforeseeable and absolutely logical reaching point for the barefoot girl biking in the city's streets in "Les Mistons".
Wolfgang Preiss
Born in Nuremberg on February 27, 1910, the son of a school teacher, well-known German actor Wolfgang Preiss started studying philsophy and theatre sciences alternately (including dance training) and made his stage debut in 1932 in Munich. He appeared in many theatres throughout his country in the 30s including Heidelberg, Bonn, Bremen, Stuttgart, Baden-Baden and Berlin. In early 40s films, WWII interrupted his output for a time, but, in a many, the war never left him, for he would continue playing war-time colonels, generals, and field marshals for the duration of his career. Following more theatre and radio work, he concentrated again on films in the 50s and could hardly be seen out of uniform for the many prototype Nazi officers he ably portrayed. He branched out internationally and kept his uniform starched and pressed for many more prestigious international productions including The Longest Day (1962), The Cardinal (1963), The Train (1964) Von Ryan's Express (1965), and Anzio (1968) as the nemesis of such American "heroes" as Burt Lancaster, Robert Mitchum, William Holden, Richard Burton, Peter Falk and Frank Sinatra. He played Rommel in Raid on Rommel (1971) and Field Marshal Von Rundstedt in Richard Attenborough's A Bridge Too Far (1977). He would appear in over 100 German and international productions in his lifetime. His film infamy was only heightened after playing the archvillain Dr. Mabuse in a series of German crimers, the first being Fritz Lang's The Thousand Eyes of Dr. Mabuse (1960). In his twilight years he turned more and more to TV, his last appearance being in 1997. He was part of the ensemble cast of "The Winds of War" and "War and Remembrance" in the 80s Married three times, Preiss died at the age of 92 as the result of a fall.
Leonard Goldberg
Leonard Goldberg has long been considered one of the entertainment industry's most talented, successful and creative executives and producers of feature films, television series and films made directly for television. He and his production company, "Mandy Films, Inc.", are currently associated with Paramount, 20th Century Fox and Columbia, where he has a number of films in development.
Goldberg has served as Head of Programming for a major network (ABC) and President of a major Hollywood studio (Twentieth Century-Fox). At ABC, he was responsible for developing and introducing an entirely new format, the Made-For-Television Movie. As a television producer, he was responsible for some of the most highly acclaimed telefilms ever made, including Brian's Song , The Boy in the Plastic Bubble , Something About Amelia and Alex: The Life of a Child . In partnership with Aaron Spelling , he was also responsible for an unprecedented string of hit television series, including Charlie's Angels , Hart to Hart , The Rookies , Starsky and Hutch , Fantasy Island , S.W.A.T. and Family . Under his own banner, he produced the spectacularly successful features WarGames , Sleeping with the Enemy , Double Jeopardy and Charlie's Angels . Under his aegis as President of Twentieth Century-Fox, the studio produced such critically-acclaimed hit films as Broadcast News , Big , Die Hard , Wall Street and Working Girl . Throughout his busy career, Leonard Goldberg's productions have reflected his taste and belief in giving important new talent a chance to shine. Some of the many stars he helped launch include Richard Gere , John Travolta , Matthew Broderick , Jaclyn Smith , Kate Jackson , Farrah Fawcett , Cheryl Ladd , David Soul , Paul Michael Glaser , Kristy McNichol , Nicollette Sheridan and Daryl Hannah . And, on the executive side, both Barry Diller and Michael Eisner were given their starts by Leonard Goldberg at ABC. A graduate of the Wharton School of Finance and Commerce, Goldberg began his broadcasting career with ABC's research department. He moved over to NBC one year later, advancing to the position of Supervisor of Special Projects. He then joined Batten, Barton, Durstine, and Osborne Advertising, but returned to the ABC Network as Director of New York Program Development, and quickly rose to become Vice President of Daytime Programming.
During his tenure at ABC Daytime, Goldberg introduced such prototypical, highly successful shows as The Dating Game , The Newlywed Game and Dark Shadows . A year later, Goldberg was named Head of All Programming for ABC, a position he held for the next three years. It was during this period that he developed and introduced the new prime-time format--Movies Made Directly For Television--which immediately became a favorite with viewers everywhere and which still provides some of the medium's most innovative and stimulating shows. After leaving ABC, Goldberg moved to Screen Gems (now Columbia Pictures Television) as the Vice President of Production. It was during this time that he sets into motion production of the landmark television film, Brian's Song , which brought him the prestigious Peabody Award, among other honors. Under his leadership, Screen Gems produced such hit television series as The Partridge Family and Bewitched .
After leaving Screen Gems, Goldberg formed a partnership with Aaron Spelling , a partnership that launched a generous portion of the most influential and popular series in television history. These include Charlie's Angels , T.J. Hooker , Starsky and Hutch , The Rookies , Fantasy Island , Hart to Hart and the beloved, award-winning Family . The Goldberg and Spelling collaboration also presented some thirty-five movies for television, among them the highest movie ever made for television, Little Ladies of the Night and the movie which called national attention to John Travolta , The Boy in the Plastic Bubble .
Under the aegis of his Leonard Goldberg Company, Mandy Films and Panda Productions, the producer presented Something About Amelia , starring Glenn Close and Ted Danson , on ABC in 1984. The highest-rated two-hour movie of its season, and one of the highest-rated ever for television, reaching some sixty to seventy million viewers. "Amelia" was internationally acclaimed for the frank and sensitive handling of the subject of incest. For "Amelia", Goldberg won the Emmy Award for "Outstanding Drama Special", the Film Advisory Board's "Award of Excellence", the "Grand Award" from the 1984 International Film and TV Festival of New York, the Youth in Films Award for "Best Family Film" and an award from the National Committee for Prevention of Child Abuse.
Other television projects produced by Goldberg include Alex: The Life of a Child , based on the book by 'Frank DeFord' and presented on ABC Theatre in 1986 as a General Foods Golden Showcase, Paper Dolls and the acclaimed for television series, Class of '96 .
Charlotte Alexis White
Charlotte Alexis White is an actress, known for Ellie (2014), The New Weapon (2015) and Murdered: Soul Suspect (2014). Charlotte Was stared on Gear, A short movie contest (Prototype). She has a busy live outside of work being home schooled and running her Radio Show Alexis Radio with Transit Records. Charlotte is a big Fan Of 5SOS and follows many Big Artists on Her Twitter Account.
Lee Tracy
Rangy, red-headed and straightforward to the bone while possessing distinctively adenoidal vocal tones, this actor with a voracious appetite for high living was a fine cinematic representation of the racy and race-paced style of pre-Code Hollywood. Lee Tracy patented with peerless skill the lightning rod timing and machine gun delivery so identified with that period and would have continued on handsomely in films had severe typecasting, a hair-trigger temper and a notoriously reckless off-camera life not gotten the best of him.
Christened William Lee Tracy on April 14, 1898, the Atlanta-born actor was the son of a traveling railroad superintendent and a former school teacher. Lee attended Western Military Academy in Alton, Illinois, while growing up, and then relocated with his family to upstate New York. Lee may have studied engineering at Union College in 1918, but he also showed an interest in dramatics and was almost immediately asked to join a theater company upon his graduation. WWI interrupted his nascent stage career when he joined the army. Following his discharge, he cast aside thoughts of a theater career and instead became a U.S. Treasury agent. Within two years' time, however, he was back via the vaudeville stage and touring stock companies. This all culminated in a most auspicious Broadway debut in "The Showoff" in 1924.
It took but a couple of years for Tracy to achieve certified stardom with the George Abbott production of "Broadway" (1926), in which he played a song-and-dance man, receiving the New York Drama Critics Award for his efforts. In 1928, following more vaudeville work, Lee found his quintessential role in the form of Hildy Johnson, the hustling, fast-talking newspaperman, in Charles MacArthur and Ben Hecht 's timeless play "The Front Page". If ever an actor and role fit together like a hand in a glove, this was it, and it was highly unfortunate, with all due respect to actor Pat O'Brien , that Tracy was not afforded the proper chance to transfer this prototype Broadway part to the 1931 film. During this time he was also developing an off-stage reputation as a carouser and heavy drinker.
Nevertheless, Fox Studios immediately signed Tracy and offered up a fine screen debut for him co-starring with Mae Clarke in the early talkie Big Time as the male half of a husband-and-wife vaudeville team who breaks off with his mate and falls on heavy times while she becomes a star. In Born Reckless , Tracy played the first of his Walter Winchell -like, staccato-styled characters. Tracy went on to perfectly evoke his fast-talking image in such Depression-era films as the drama Liliom and the ribald comedy She Got What She Wanted .
A highly impulsive man, Tracy abandoned Hollywood at this early stage of the game and returned to his former glory, Broadway, appearing to fine advantage in "Oh, Promise Me" and "Louder, Please" in 1930 and 1931, respectively. But films continued to beg for his services; this time it was Warner Bros. He contributed greatly to both the melodrama The Strange Love of Molly Louvain and the horror opus Doctor X and easily stole the proceedings, this time in a comic mode, as the cynical, scandal-sniffing columnist in Blessed Event . Columbia Studios decided to get in on the action with a three-picture deal. Tracy played a no-holds-barred politico in Washington Merry-Go-Round , the title role in The Night Mayor and an ex-con in Carnival . In between, however, trouble started brewing with his unrestrained night life and patterned absences from the set.
A fourth big studio, MGM, took him on in 1933 with a contract boost despite his "bad boy" reputation, yet more personality problems surfaced. Despite excellent performances in such films as Clear All Wires! , The Nuisance , Turn Back the Clock , Advice to the Lovelorn , and the MGM classics Dinner at Eight and Bombshell , both showcasing MGM's comedic sex siren Jean Harlow , Tracy went too far. During the filming of Viva Villa! in Mexico City, Tracy displayed shocking, ungentlemanly behavior that resulted in fisticuffs with the law and a high-profile arrest on public morals charges. MGM not only kicked Tracy off the picture but felt compelled to apologize publicly to the Mexican people for his disrespect and terminate the actor's five-year contract.
Tracy freelanced thereafter, often for RKO, but the quality of his pictures began to slide and his constant rash of quicksilver reporters, columnists and press agents had worn out their welcome. He returned to the stage in both New York ("Bright Star") and London ("Idiot's Delight") and was warmly received. In the midst of it all, he married Helen Thoms Wyse, a nonprofessional, in 1938 and, defying all odds, made the marriage work. She survived him by thirty years.
With his last postwar film at the time being High Tide , Tracy's looks had hardened dramatically and he looked at TV being a possible medium for his talents. Throughout the '50s and early '60s, he appeared on a number of shows, including "Kraft Television Theatre", "Wagon Train" and "Ben Casey". He also took on series leads, such as The Amazing Mr. Malone , Martin Kane , and New York Confidential . And there was always the stage.
Tracy's last hurrah, both on Broadway and in film, was Gore Vidal 's blistering political drama The Best Man . Recreating his 1961 Tony-nominated role of the crusty, terminally ill U.S. president, he received his only Oscar nod for this standout part. The rest of his working years went by with less distinction. In the summer of 1968 he was diagnosed with liver cancer and succumbed to the illness on October 18 of that year in a Santa Monica hospital.
J. Anthony Kosar
J. Anthony Kosar is an award-winning artist who specializes in Fine Art, Illustration, Sculpture, Creature Design, Make-up FX, and Product Design through his company Kosart Studios, LLC. Becoming a member of the I.A.T.S.E. Local 476 Studio Mechanics Chicago in 2016, he and his studio is doing SPFX Make-Up and sculpting props for both Chicago P.D. Season 4 and Empire Season 3. Kosar has also worked on make-up FX for Chicago Fire and FX props for Chicago Med, along with being the SPFX Make-Up Designer for the FOX pilot Zoobiquity. In 2007, he interned at legendary Stan Winston Studio creating effects for Indiana Jones 4 and James Cameron's Avatar. Kosar designs and sculpts Halloween masks for Zagone Studios, one of the leading mask manufacturers in the world. He creates special effects for theater, film, commercials, and print. Kosar teaches the art of FX through his Kosart Atelier: School for Entertainment Arts in Westmont, IL, and also taught at other schools such as French Pastry School in Chicago, IL and Make Up For Ever Academy in New York, NY. In 2013 Kosar became the Face Off Season 4 Champion. Face Off, a reality-based competition on the Syfy Channel is the biggest competition for Make-Up FX, and Kosar won 6 of the 11 Spotlight Challenges, plus 1 of 4 Foundation Challenges, setting the record of most consecutive wins in a row and most wins by a single contestant on a single season. Of his Spotlight wins, he won the DC Superhero challenge where his winning character "The Infernal Core" appeared in the DC comic Justice League Dark #16, and also won the Defiance challenge where he shadowed the FX make-up crew on set in Toronto, Canada. Kosar also appeared on Face Off: Judge Match during Season 7 where he was one of six chosen from all seasons to help the judges compete, and he was selected to be on judge Neville Page's team with Miranda Jory, and their team won. He was selected as one of three champions as a coach of Face Off Season 8. Kosar has since had several of his students from Kosart Atelier compete and even also win on Face Off. Besides FX, Kosar is an internationally awarded fine artist, illustrator, and sculptor, having been awarded by the Society of Illustrators of Los Angeles, American Watercolor Society, Illinois Watercolor Society, and several others. In 2009, he was named "One to Watch" by Watercolor Artist Magazine. His work has been selected to appear in Splash 13: Best of Watercolor, in volumes 19, 20, 22, & 23 of Spectrum: The Best in Contemporary Fantastic Art, and volume 4 of Infected by Art. He was honored by being selected as one of the judges for Spectrum 21. His work has also been featured in the pages of Fangoria, Variety, Rue Morgue, Entertainment Weekly, Portes Magazine, and Sci Fi, among others. He has also been juried into the Main Show for IlluXCon 6, 8 & 9. He designs and sculpts prototypes for toys, collectibles and medical anatomical models, illustrates for novels and comic books, curates art gallery exhibitions at his Kosart Gallery including the highly anticipated Annual Maleficium Dark Art Exhibitions, and creates fine art paintings and sculptures. Kosar was Valedictorian of the class of 2008 at the American Academy of Art in Chicago, IL earning his BFA in Illustration, while taking what he learned from 2-dimensional visual storytelling, and applying those principals to teach himself the art of sculpture, make-up, and special effects.
Mariann Aalda
Long before there was Olivia Pope or Annalise Keating, there was DiDi Bannister on the ABC soap opera Edge Of Night (1981-84). As played by Mariann Aalda, the smart and spirited young attorney became a prototype for the professional African-American female characters that began to proliferate on network TV...earning her accolades and numerous awards from the African-American community. After graduating from Southern Illinois University and the Negro Ensemble Company conservatory training program where Laurence Fishburne and Robert Townsend were classmates, Aalda joined NYC's Off-Center Theatre Company as a sketch comedy writer and performer and toured the country with The Proposition improv troupe with Charlie Adler...before joining Edge Of Night as one of the first African-American daytime contract players and soap opera heroines. When the NY-based show went off the air, she moved to LA where she was quickly cast on the HBO dramedy, First & 10, in the recurring role of Ellen Parker, the long-suffering coach's wife, opposite OJ Simpson. From there, her sitcom career took off in numerous recurring and guest-starring roles, including the memorable turn opposite Meshach Taylor on Designing Women as his yuppie-from-hell girlfriend, Lita Ford. She was also a series regular on the CBS sitcom, The Royal Family, as Elizabeth Royal-Winston, the daughter of Redd Foxx and Della Reese. She later returned to daytime in the recurring role of the "tragically disfigured" Lena Hart, Sherrie Saum's mom on the NBC soap opera Sunset Beach. Aalda's most recent TV appearance was as Risa Pena on the NBC hit, The Blacklist. She returned to her comedy roots as co-producer and star in the 25-episode web series, Talk To Me, Ginger!, based on her performance art character, Adult Sex-Ed Evangelist & Mojo Motivator Ginger Peechee-Keane, who is also the protagonist of her solo show, Occupy Your Vagina. For the past several years she has also been doing standup...the perfect platform for her outspoken humor.
Achim Bornhak
AKIZ, (Achim Bornhak) born in 1969, studied direction at the Film Academy Baden-Wuerttemberg. Two of his student films got nominated at the Academy Awards for the Oscar. In 1995 AKIZ received a scholarship to attend graduate film school at the University of Southern California. 1997 he directed his highly acclaimed debut "SCHOOLS OUT".
1999, AKIZ moved to Los Angeles where he worked on documentaries, independent projects and screenplays. During this time until 2004, he also created the first prototypes of the creature for his feature film "DER NACHTMAHR".
AKIZ returned to Germany and directed for Warner Brothers the feature film "Das Wilde Leben", which was released in the theaters 2007 and got nominated in two categories for the German Film Awards. The film also received the highest German predicate of the Deutsche Filmbewertungstelle "Besonders Wertvoll" and got screened 2013 at the Museum of Modern Art in New York at the PopRally by Kim Gordon (Sonic Youth) and the Ad Rock (Beasty Boys). The film's title song "SUMMERWINE" by Lee Hazelwood (sung by Ville Valo and the lead actress Natalia Avelon) received double-platinum status and went to become the most successful German film song of all times.
Parallel to his films AKIZ created paintings and sculptures in his studio in the South Tyrolean Alps under his pseudonym AKIZ.
David Lynch and the Bizzurkearmy exposed AKIZ artwork in 2008 at the Engine Collision Fest in Los Angeles. In 2010 AKIZ realized his short film and art piece "PAINTING REALITY". The film got got featured in BANKSY'S film about international street artists "The Antics Roadshow". PAINTING REALITY was also screened at the Saatchi Gallery in London.
In the same year AKIZ directed the short film "EVOKATION" for the Electric Cinema of the Soho House London and collaborated with Philipp Virus in projects of Philipp Virus, Atari Teenage Riot, Dinosaur Jr, and many others.
2012 he launched his film production company OOO- FILMS. In 2013 he realized his longterm project and highly ambitious feature film "DER NACHTMAHR". The German theatrical release is planned for 2015.
Marcus Shirock
Marcus was born in the suburbs of Washington D.C. at Alexandria hospital. His father was a Irish Strongman who masked the covers of fitness magazines throughout the 60's. His grandfather, Chief Turkey Tayac, of the Piscataway Indians, was the last chief who was born in the 19th century to die in the 20th. He is also the only Chief buried in a national park which took an act of Congress and a Supreme Court ruling. The burial grounds are in Piscataway, Maryland across the Potomac River from George Washington's home in Mt. Vernon Virginia. Marcus has a brother and sister and along with a couple uncles and cousins, they are the last of their tribe.
Shirock Graduated from Annandale High in '94, but before he left, he walked away with four football Championships including the State Title. He also ran away with three power lifting Championships including the Northern Region Title his senior year. After graduating high school he left his family and friends behind on the 4th of July to defend his country. Shirock joined the United States Marine Corps. He finished his Boot Camp at the Marines most famous Parris Island. After graduating with a perfect (PFT) physical fitness test score of 300 he went on to Ft. Sill, Oklahoma for Artillery Training.
After honorably leaving the Marines he moved on to Hollywood, California unknowing that an acting career would start the second day he arrived. While Shirock was on Sunset Blvd. doing a martial arts demonstration, a director walking by was caught off guard by his presence. The next thing you know it was lights, camera, action. He has been pursuing his acting career ever since and has studied since 1997 while appearing on the television shows such as 'Angel' and 'Charmed' and has worked on several major films. In 1999 Sam Raimi and 'Marvel Comics cast him as the prototype for the Superhero Spider-Man . In 2005 he has a co-starring role in an original ensemble cast with Oscar award winning actor Jon Voight called _The Legend of Simon Conjurer (2006)_ due to premier in March 2006.
Marcus Shirock is a All-American true to his work and believes anything can be accomplished with hard work and perseverance. No drugs, alcohol or smoking are in his life.
Suzy Delair
Prototype of the sexy cheeky French lady, Suzy Delair was discovered by Henri-Georges Clouzot , who became her companion and gave her two memorable roles : Mila Malou, inspector Wens' unbearable girlfriend in two films, The Last One of the Six , which he wrote, and The Murderer Lives at Number 21 , which he penned and directed; and the mythical one of Jenny Lamour, a frivolous music-hall singer prepared to do anything to become famous who makes her poor husband insanely jealous in Quai des Orfèvres . The rest of her filmography is rather disappointing, with a few exceptions such as Jean Grémillon 's Pattes blanches , where she is -once again - an unfaithful companion ; Gervaise , René Clément 's masterpiece as Gervaise's obnoxious rival or Luchino Visconti's Rocco and His Brothers , another cinema milestone, even if her part in this film is minor. An excellent singer (Who has forgotten "Avec son tra la la"?), delightful in operettas, Suzy Delair could hardly choose between her two careers. This may be the reason why she missed out on more great roles than she finally interpreted. Nevertheless, Mila Malou and Jenny Lamour are now part of the French film heritage. Not everybody can boast having left such an imprint on several generations of movie-goers.
Jordan Freeman
ZOOM's Chief Creative Officer and Founder, Jordan Freeman, conceived the ZOOM Platform project and built its first prototype. He also formed the Jordan Freeman Group development arm of the Company, which focuses on building franchises around ZOOM technology. These franchises are, and will be, published and distributed on ZOOM Platform. Before ZOOM, Freeman was Founder and Chief Technical Officer at Head 2 Head Gaming. Freeman also manages strategic partnerships and web design for The Last Internationale.
ZOOM's mission is to design, create, and publish traditional and interactive entertainment with a Generation X trans-media appeal. ZOOM's products are distributed digitally via, ZOOM Platform, along with non-exclusive third party content from both major publishers and indies with a catalog spanning the classics to new releases. ZOOM has a world-class management team with veterans from all facets of the entertainment and technology industries including: Bernie Stolar (Atari, Google, Mattel, Sega of America, and Sony Computer Entertainment America) and Bernie Gilhuly (One World Networks, Tribe Management Partners, and at present, LL Business Management).
The Last Internationale (TLI) was formed by New York City natives, Delila Paz and Edgey Pires. Their debut album, We Will Reign, was released by Epic Records, a division of Sony Music Entertainment, on August 19, 2014. The album was produced by Brendan O'Brien and Brendan Benson. TLI has toured worldwide with the following rock legends: The Who, Robert Plant, Neil Young, Scott Weiland, Slash, and Tom Morello.
Shaun Paul Piccinino
Shaun Paul Piccinino (Peach-ah-nino) is an action, Director and Actor who has Directed and starred in the hit television show the "Deadliest Warrior", the award winning film, "The Lackey" and over 30 videos games to date spanning from "Spider-Man: Web of Shadows", "Prototype 2", to the multi-billion dollar franchise, "Call of Duty".
Growing up in Northern California and being raised on a virtual wildlife refuge of over 900 acres (on the campus where his father, Barry is head of the Drama Department at Butte College) was an incredibly grounding experience. Shaun grew up on stage since age 5 while studying Shakespeare with his father. His curiosity for film and TV brought him to Los Angeles in early 2001.
Piccinino is a Hollywood anomaly and has been described as a modern day renaissance man. Who also happens to be a AAU National Champion in weapons (4th Degree black belt) in Shoalin Kung Fu and a 1st Degree Black Belt in Okinawan Karate. Shaun parlayed his skills to launch himself into the Hollywood and Video Game action scene. Shaun has battled on top of moving trains on the NBC show "Revolution", doubled the stars on NBC's "Heroes" and played the part of "The Quarterback" in an episode of "Criminal Minds."
Piccinino has found equal success in both television and film. 2nd Unit directing and then later Directing on Spike TV's #1 Hit show, the "Deadliest Warrior" for two seasons in a row (as well as staring in several episodes as famed Scottish war hero, William Wallace). As a filmmaker, he was honored with the "Audience Choice" award at the 2012 SoCal Film Fest and the "Best Editing - Feature" accolades at the 2012 Action on Film (AOF) Festival for his multi-nominated feature film, The Lackey, that Piccinino also starred in, wrote and directed. He was also the stunt coordinator on the movie, which also received a "Best Fight Choreography" and "Best Screenplay" nomination. His other recent works have garnered a lot of attention from his stunning action work in the viral hit show "Super Power Beat Down" where he not only coordinates the stunts but also 2nd Unit & Co-directs, to his producing credits on several feature films in the last year alone. Notable credit's include, "When The Fever Breaks" an Zombie survival thriller in the vein of The Walking Dead and a true to text adaptation of "The Strange Case Of Dr. Jekyll and Mr. Hyde" which had the honor of being the last film work for the hollywood legend Mickey Rooney.
When not in front or behind the camera Piccinino spends his time in the editing bays with 8 feature films and several network television shows, such as Seth Green's "Robot Chicken" and Drew Carey's "Green Screen Show" under his belt.
Piccinino's penchant for drama/action, and ability to pull at heart strings while elevating the stories through gritty fight choreography have been realized throughout Hollywood. Piccinino's is quoted as saying that one of his biggest idol's is the one and only Buster Keaton.
John Guthrie
John A. Guthrie is a Colorado-based ATVAS-award winning writer/producer who is also an artist with 250 sales from 20 galleries worldwide. As a musician and engineer, his performance has accompanied documentary, industrial and slide show production. He is a published novelist. His patent-pending technology configuration called "Neural Resonance Holography" is being developed with mathematically-invariant brainwave transduction signalling (with military-grade programmers and multiple-PhD researchers). Clinical trials are underway in 2017 and are showing statistical significance.
To understand the technology's impact, John has been developing a trilogy of novels that trace a woman from Africa...through elevation across centuries to the idol of a false religion to the life-giving God of another universe. The storyline incorporates non-dimensional neural resonance as the technology configuration reveals its capabilities.
John is essentially a researcher, writer and producer. He has created content for film, broadcast, video, interactive videodisc, satellite-networked military simulation, classified nuclear weapon training, commercial videogame and network promotion: in English, Spanish and Russian; with game-development for RDI Videogame and entertainment/ documentary product sold into distribution by Kodak, Discovery Channel and Turner International.
John began college studies as a pre-med psychology student. While studying communications theory (perceived meaning derived from montage, ala Eisenstein) he took a basic film class and produced a 16mm film precursor of music videos, "The Wizard Comes Home" was awarded first place, shorts, at the 1973 Houston International Film Festival. John later became one of the originators of the Los Angeles Visual Music Alliance.
In 1976, John was accepted for enrollment at the University of Southern California and began studies in cinema, television, business and foreign relations. Guthrie was selected for honors study in a USC/ UCLA inter-disciplinary program. He graduated USC with a 3.85 GPA in 1979 (BA, broadcast journalism; minors in Russian language and foreign policy/ strategic studies.) In his senior year, Guthrie received the first ATVAS Eric Sevareid Award for a 1/2 hour broadcast documentary he co-wrote, produced and directed.
While at USC, John established the baseline theory for holographic editing. He also created his company Laser Radio as a Youtube precursor. The micro-transaction economic theory behind the Laser Radio "jukebox" was published by the University of Amsterdam Center for nonlinear dynamics in economics and finance in 2001 as "Molecular Economics"; which was of great interest to two Chinese universities and the Chinese Ministry of Commerce (all of which downloaded it for a year.
John's work in interactive media spans logic programming and art design for Sony North America's first interactive video disk installation (LA Science Aerospace Museum during the 1984 Olympics) to prototype DARPA military armor training system that connected Abrams tank simulators on two continents by satellite, and fire control simulation for a foreign navy's nuclear weapon release-capable submarine fleet.
John is a world-recognized expert on manned military hypersonic flight in the trans-atmosphere (according to the FBI which protected him at CIA request from an NSA-intercepted KGB tasking order for 10 months under FISA court order). John has presented restricted briefing material to USAF and NASA conference audiences, on trans-atmospheric warfare and the unclassified history of manned hypersonic flight.
For fun, John likes to drive Formula Renault 1.6 and Formula 1 (Benetton B-198 chassis with Judd V10 power). He's been known to burns Porsche brakes - literally- right down to ceramic rotors on demanding racetracks like Laguna Seca and Willow Springs. His well known Ferrari 550 was honored at Concorso Italiano in 2012. His 550WSR in England is one of the best examples of this rare 33-car edition in the world. Guthrie is a sought-after engineering test and evaluation driver for both Ferrari and Porsche. He has written about his work in cover stories for PILOTA and HIGH GEAR magazines, for Ferrari and Porsche fans. "Life is short. Just drive," is his motto.
In Laramie, Guthrie manages his family's charitable foundation, begun by his late father, Jack. John has grown the foundation's investment principal 20%, during the second worst economic downturn in U.S. history.
Ted West
Ted graduated with dual Masters from the University of Pennsylvania where he made his stage debut in "Measure for Measure" at the Annenberg Center. Professional stage roles in New York and Los Angeles followed. He has worked in several award winning and nominated productions.
Ted turned began to focus on film in 2004, and after playing engaging game show host 'Chuck' in the multiple award winning 'Bachelor 37'. He followed up with leads in several independent films in 2005, including 'The Prototype', 'Silver Dollar', and the award wining 'Neither a Borrower Nor a Lender Be'. His hilarious spin on the as Han Solo in 'The Dating Show', was reviewed by George Lucas and subsequently landed a best film nomination.
More recently, Ted has gained attention again as a singer/songwriter for his creative interpretations of an eclectic range of songs. He is now in the studio working on a new album,due out on the Del Oro label in 2012.
Ted is single and resides in Beverly Hills, CA.
Peter Alexander
To paraphrase the Beatles, one could say that, like Michelle and Ma Belle, Peter Alexander and Music are words that go together well, for the Austrian entertainer (musician, singer and actor) was associated with music from cradle to tomb. Born in Vienna in 1926, the son of a banker and his wife, Peter Alexander Neumayer (his full name) entered the world of music courtesy of his grandfather who owned a music store in Pilsen. The boy was only five when he joined the Vienna Boys' Choir. And as Peter Alexander had another passion, acting, it is no wonder that he became a... singing actor ! But all in due time: In his early twenties, the young man first started studying medicine. Naturally he soon realized he was on the wrong track and changed for drama studies at the Reinhard-Seminar in Vienna. After graduating he appeared in several plays and even played in a cabaret. At the same period, Peter Alexander's love for music resurfaced and he recorded his first songs in 1951. Success was on the cards as several of his songs became big hits. He even won the German Song Contest in Munich in 1952. From then on, Peter Alexander, who had played in the theater, but never in films, started working for the big screen. Actually, his first appearances were brief and he was always billed as a singer, a dancer, a musician or himself. But his being a star of song gradually implied a star actor status. As a matter of fact, Peter Alexander soon got top-billed, and in dozens of light comedies, which attracted millions of German-speaking spectators. In such films as Ich bin kein Casanova , Die Abenteuer des Grafen Bobby and nearly all the others, Alexander was not what can be called a character actor embodying a a different role in each of those films, but he was invariably the charming, well-bred, joyful man, fond of "Festlicher Stimmung" (festive mood) and Lust (good laughs), often named Peter, in short, close to the kind of guy he was in real life. Of course, all this had nothing much to do with art and if Peter Alexander's name is still remembered fondly by the older generation in Austria and Germany, it must be recognized that he has not left any imprint in film history. Peter Alexander was synonymous with a joyful time meant for immediate consumption and that was that. An exception though: 'Wolfgang Liebeneiner' qv)'s Schweik's Years of Indiscretion , in which for once he did not play a nice guy close to who he was, but 'Jaroslav Hasek''s well-known "hero", the prototype of the dumb soldier who drives his superiors crazy. Peter Alexander 's portrayal of this archetypal character was just excellent and it makes you regret that the comedian was not offered more demanding roles during the two decades when he was at the top of his career. After 1972, as commercial German cinema was spiraling down into the abyss, Peter Alexander left his film career to devote himself to TV shows and, of course, to songs, songs, songs . He died in early 2011 at the age of 84. History does not record whether.. he sang his last words!
John Caballero
John Caballero is a Florida Native whose family moved to Florida in the late 1890's to work on the Flagler Railroad. His grandfather (Kenneth Oscar Morgan) was a Navigation and Flight Instructor for the Navy and Pan Am (Miami, FL) in the 1940's. This is where Ken and his wife Harriet became close friends with Gene (Roddenberry). John grew up hearing stories about in-flight occurrences, (losing engines, doors coming open, and yes, UFO's) and Star Trek. This piqued his interest in Science Fiction and technology. At the age of 6 John began building electronic kits trying to emulate technology of the future. His mother, having lived overseas for most of her life, was a polyglot (English, Spanish, Portuguese, Italian, French, German) encouraged John to learn languages as well. As a teenager, John spent two years living in Germany, going to the local schools, traveling and learning about other cultures and history. John returned to the US in 1979 and earned a degree in Foreign Languages in 1987. Keeping with his love for languages, societies and history, John also enjoys the diverse cultures of Star Trek. In 1989, John started his career in IT as a Main Frame systems operator. Also in 1989, John earned his Federal Communications Amateur Technician Radio License and started work in electronic circuit prototyping and construction. In 1994, John joined IBM and in 2000 was rated in the top 10% of the engineers in the Americas. John left IBM in 2002 and has continued in IT but now also uses his skills and interests contributing to and supporting multiple Star Trek enterprises. In 2014 John started assisting with Star Trek Horizon. That led to John contributing to "Prelude to Axanar" (2014), Star Trek "These are the Voyages" Volume 3 (2014), "Axanar" (2015), "Star Trek Pirates Cove" (2016) and "Star Trek Excelsior" (2016). John is continuing his involvement in Star Trek productions
Mike Beckingham
English actor and writer Mike Beckingham is the son of jazz musician John Henry Beckingham and Christine Beckingham (maiden name Christine Hawkins). His siblings include Simon Pegg (birth name Simon John Beckingham), Steven John Beckingham, and Katy Pegg. Beckingham was educated at Thomas Keble Secondary School in Eastcombe Gloucestershire, United Kingdom. In 1999, Beckingham was recruited onto the Forest Green Rovers Football (soccer) Academy (farm team for the professional soccer team Forest Green). After his release in 2001, Beckingham began in the financial industry serving as a Customer Service Advisor in a Call Center. In 2006, he was one of four managers overseeing a Call Center of 60 agents. In 2010, Beckingham joined a banking firm providing financial advice.
During this time, Beckingham pursued his acting career. In order to get comfortable on camera and gain experience, he developed concepts for television shows. In 2001, he developed the idea to interview celebrities, take them out of their life style now, and put them back into the communities in which they grew up. He filmed his prototype in 2010 with the aid of the School of Media, University of Gloucestershire. The University provided Post Graduate students who wanted the experience and professional credit for creating a television show. The first celebrity filmed was Beckingham's brother, English actor and comedian Simon Pegg . The Cotswold Style magazine of Cheltenham contacted Beckingham and published a two page article on Beckingham's concepts and the creation of the prototype. The prototype caught the attention of Agent Paul Wareing, who became Beckingham's agent in 2011. Wareing advanced the concept of filming an actual pilot to Peter Barry of "The Little Green Shed Video Productions". For the pilot, Beckingham interviewed world renowned French ice skater Julien Duliere.
In 2012, Wareing met Georgia Hilton , the Director and Writer of the feature film Subconscious starring Tim Abell due out in the summer of 2014. Hilton was looking for a cheeky character to costar in the principal cast role of a paranormal investigator. She was so impressed with Beckingham during auditions that she rewrote the part to tell the story of an English investigator being recruited to travel to the US to aid in the investigation aboard a haunted WWII submarine. Prior to his travel to the US, Hilton arranged for a British film crew headed by renowned cinema photographer Peter Barry to film some of the opening sequences of the film.
During the filming of his debut role in 2013, Mike teamed with fellow cast member Lynwood Metts to write Young Arthur - The Quest for Avalon (pre-production), to be directed by Georgia Hilton . Beckingham is also slotted to star in another Hilton film, New Hampshire Daze (in development).
Michael Miner
Michael Miner received a Bachelor of Arts degree in English Literature and Theater, and a Master of Fine Arts degree at the University of California, Los Angeles, where he wrote and directed LABYRINTHS, which won a Focus and Cine Eagle Award, ALIAS JANE DOE, which was exhibited at the Deauville and Bilbao film festivals, and COSMOGRAPHIA, which was exhibited at Filmex. While at UCLA he was also a cinematographer of ten student films including SCARRED, which was exhibited commercially and FOOL'S DANCE, which was produced by PBS.
Mr. Miner's professional career includes time as a director of photography and director/cameraman of twenty music videos. As co-writer of ROBOCOP, the iconic action story about the part man/part machine law enforcer of the future, Mr. Miner received the SATURN AWARD for Best Science Fiction Screenplay and a nomination for Best Screenplay by the Mystery Writers of America. He is also the co-writer of the pilot for ROBOCOP: THE TELEVISION SHOW, produced by Sky TV, ANACONDAS: SEARCH FOR THE BLOOD ORCHID, the action adventure sequel about humans battling deadly snakes, and LAWNMOWERMAN II, the science fiction sequel to the virtual reality story about an idiot savant trapped in a computer program. Mr. Miner made his debut as a writer/director with DEADLY WEAPON, a drama about a teenager who finds a prototype Star Wars weapon and uses it to take a desert town hostage. Most recently, he directed THE BOOK OF STARS, magic realism about the troubled relationship between two sisters and the memory book one of them keeps that has the power to anticipate future events. Mr. Miner discovered the script while teaching a writing class at the Maine Photographic Workshops.
Mr. Miner has written screenplays for Oliver Stone, Sylvester Stallone and Michael Douglas. He is currently developing a feature film based on the true story of a friendship between a Franciscan priest and a gangster living in a ghetto in Kingston, Jamaica, an erotic thriller situated on the campus of Harvard University, and two television series, one about Juvenile Justice in America and the other about the dystopian aspects of digital information. He has taught screenwriting at the Maine Photographic Workshops, the University of Hawaii, the Southeastern Media Institute, the Praxis Center for Screenwriting in Vancouver, the University of California at Santa Barbara, California State University at Los Angeles and the InsideOUT Writers Program for incarcerated juveniles. Mr. Miner has embarked on a second career as a large format landscape photographer. He spent the month of January, 2010, working as an artist-in-residence at the South Rim of the Grand Canyon for the National Park Service. His images are in hundreds of private collections and on display in galleries in Monterey, California and Durango, Colorado.
Vivean Gray
She was born Jean Vivra Gray in Cleethorpes, Lincolnshire, England, the eldest of four children of Allan, a fish merchant, and his wife, Doris, and attended Thrunscoe girls' school. The family moved to Kingston upon Thames, in south-west London, in the 30s but was evacuated back to Cleethorpes in 1941 and finally resettled in New Malden, Surrey, after the second world war in 1945. As a young woman, Gray worked as a sales assistant, reporter, photographer and nurse, and during the war had served in the Women's Land Army, but always dreamed of becoming an actor.
In 1952, finding opportunities in Britain limited, she decided to emigrate to Australia to pursue her acting ambitions. She adopted the professional name Vivean Gray and appeared in Australian theatre and radio, as well as establishing herself on TV with small roles in cop shows such as Homicide (1964-77), Division Four (1969-75), Matlock Police (1971-76), Solo One (1976) and Bluey (1976), as well as the legal drama Carson's Law (1982-84) and the miniseries Anzacs (1985) and All the Rivers Run (1983).
She also appeared in two films directed by Peter Weir. In Picnic at Hanging Rock (1975), she played the maths teacher Miss McCraw, who, along with several of her students from a girls' boarding school, disappears during a Valentine's Day picnic, never to be seen again. In Weir's 1977 film The Last Wave she played Dr Whitburn, an expert on aboriginal history, which starred Richard Chamberlain.
In 1976, she starred as Ida Jessup in The Sullivans, a long-running drama about a Melbourne family and the effect that the war had on their lives. Playing Mrs Jessup, the Sullivans' gossipy English-born neighbour, during the show's 16-season run from 1976 to 1983 proved not only good preparation for her later role as Nell Mangel on Neighbours, but also led to her receiving two Logie awards honouring achievements on Australian TV.
In 1984, she was cast to play a genteel poisoner, Edna Pearson, in the long-running drama Prisoner Cell Block H (known simply as Prisoner in Australia). But after a woman who had been accused of poisoning her husband threatened to sue the show's producers Grundy Television, on the grounds that the character was based on her, material involving Gray's character was cut from subsequent episodes, and from DVD releases of already broadcast shows. In 2010, a DVD telling the dramatic story of Edna Pearson was released, but only in Britain.
Towards the end of her two-year stint on the Australian soap Neighbours as the local busybody Mrs Mangel, the British actor Vivean Gray, who has died aged 92, was presented with the script for an incredible new storyline. In it, she was to be knocked from a ladder by a Labrador called Bouncer and as a result would lose her memory of the past two years.
Her granddaughter Jane, trying to be kind, decides not to tell Mrs Mangel the truth that in the interim her husband Len (John Lee) has run off with another woman, but instead that he has died and his ashes have been scattered under the rosebushes in the front garden. In one later episode, Mrs Mangel is seen saying goodbye to the rosebushes, prompting her Ramsay Street neighbours to think she has lost her mind.
In any other TV soap, such a storyline might have produced a wave of sympathy for the character, but it did not for Nell Mangel. Between 1986 and 1988, millions around the world, particularly in Australia and Britain, would tune in every weekday afternoon to watch the cantankerous, interfering busybody at No 32 drive her neighbours to distraction. In one typical storyline, Mrs Mangel tries to destroy the relationship between her lodger Harold Bishop (Ian Smith) and her neighbour and nemesis Madge Ramsay (Anne Charleston). When she fails in that, she attempts to ruin their wedding by playing the church organ badly. In another storyline, many of her neighbours suspect her of murdering Len - until he turns up unexpectedly in a later episode announcing he plans to file for divorce.
In some respects, Mrs Mangel was a prototype for EastEnders' Dot Cotton: piously Christian, difficult and burdened with a disappointing son (Joe, played by Mark Little), who leaves the Mangel home after being accused of robbing a service station. But unlike Dot Cotton, Mrs Mangel proved unlikeable though captivating, becoming, as Neighbours' executive producer Jason Herbison "the ultimate busybody ... a true soap legend".
These were the glory days of Neighbours in terms of ratings. A 1988 episode featuring the wedding between Scott Robinson (Jason Donovan) and Charlene Mitchell (Kylie Minogue) was watched by 20 million in the UK alone. As a result, Gray's character became globally known, if not beloved.
Indeed, if Mrs Mangel made Gray famous, she was scarcely able to enjoy the celebrity. In 1988, she quit the show after nearly 300 episodes. The following year she explained why: "I loved Neighbours and the rest of the cast were marvellous. But because it was so successful, I could barely set foot outside my own door without someone screaming abuse at horrid old Mrs Mangel. People didn't seem to appreciate it was acting. So I decided to take a break."
For years afterwards, Vivean Gray topped opinion polls as the nastiest television "baddie" of all time, with some of the more dedicated viewers of Neighbours failing to distinguish between the actress and the fictional character.
The break from acting lasted for the rest of Gray's life - she never took another role. She left Australia in the mid-1990s and settled in Shoreham-by-Sea in West Sussex, England, refusing requests for interviews or autographs from fans.
In 2005 Neighbours' producers tried to persuade her to return for its 20th anniversary episode, but she declined.
After Gray quit Neighbours in 1988, she may have effectively retired, but her fame lived on. In 1995 she was honoured with her image on an Australian postage stamp. As for Mrs Mangel, after finding out the truth about Len and divorcing him, the producers had her fall for a retired dentist John Worthington (Brian James) and move back to the old country, to St Albans, Hertfordshire. She continued to be mentioned in the show as recently as 2015.
Mark Vasconcellos
After spending his high-school years in Madrid, Spain, Mark was a modern day nomad at heart. He acquired a B.A. in Film/T.V. production from San Jose State University and quickly bolted back overseas to live in Italy, France and Africa, finding work as a T.V. segment director/cameraman. 1990's Mark spent studying acting in Los Angeles at the Stella Adler Conservatory West and the Actor's Circle Theater. In 2007, Mark relocated to southern New Mexico where he landed a re-occurring roles on The CW's: Easy Money as Pastor Jeff, and other supporting roles on hit TV series In Plain Sight, Longmire and AMC's Breaking Bad. He also landed lead roles in the feature films: River, Lost Padre Mine, Big Mistake, The Prototype, Beyond, Triple Threat, and soon to be produced Precious Cargo plus 13 episodes of his NM Travel show Enchantments.
Juan Pablo Llano
when you think about the Latin man in the world of fashion and elegance the name of Juan Pablo always comes up. His cinnamon skin, dark eyes and hair have delighted thousands of women and are the demonstration on why the Colombians are the best exponents of the male sex. National and international companies have used his image to promote their products and set trends he is the ideal prototype that reflects lust, sensuality and charm with a deep, penetrating look and perfectly formed muscles. The paisa would love to have his own producing company, and become the best director of television and movies; dreams about sharing his life with catalina and have a family.
He has always worked with effort. Three years ago, he graduated as publicist from the universidad pontificia bolivariana; in his hometown, where he was the vocalist of Remora, a hard core band that gave him the opportunity to record some demos that were in succesful rotation at prestigious stations as radioacktiva.
Juan Pablo entered the world of models. he was the main image of the costena beer, royal, boston cigarettes, and participated in one of the catalogues of the history of love underwear. Alo magazine named him as the sexiest man of the country, and according to TV y novelas, he is the owner of one of the best bodies in show business. At an international level, he has done commercials for sunsilk, bayer, and the contigo mobile phones. As expected, Juan Pablo has been a member of the fashion festivals Colombiamoda and Colombiatex, and right now is working as an actor of the teleset soap opera the authentic Rodrigo Leal, alongside figures as important as Jairo Camargo and Raquel Ercole.
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Know mostly for their extreme use of fart gags, Terrance and Phillip are popular Canadian celebrities on what animated TV show? | 20 Years Of Covers Featuring The Bad Boy Records Family
Puff Daddy: This Is Not A Puff Piece
Puff Daddy: This Is Not A Puff Piece
Puff Daddy: This Is Not A Puff Piece
Written By: Scott Poulson-Bryant
Photographs By: Butch Belair
Issue: September 1993
PROLOGUE: Before Andre Harrell fired Puff Daddy, there was another story. Before he walked into Puffy’s office on that nasty hot evening on July 8 and told his protégé that there was room for only one king at the castle called Uptown Entertainment; before Andre Harrell told Puffy that he would have to take his new record label, Bad Boy Entertainment, elsewhere; before Puffy packed up his office; before the telephone lines burned with theories )Andre’s threatened by Puffy’s success. Andre was pressured from higher-ups at MCA, Andre’s bosses never like Puffy anyway, they never understand him, never tried to, Puffy’s just a troublemaker); before Andre was saying that Puffy “had particular ways he wanted to do things that weren’t in the direction I wanted Uptown to go…” Before all that, before Andre decided that Puff Daddy was “unnecessarily rebellious,” there was another story to be told about Puff Daddy. A story that started like this…
AS hip hop makers its mad dash toward the finishing line of high capitalism, it will need a hero. And there he is, shirtless, the waistband of his Calvin Klein boxer briefs peeking perilously over the edge of his black shorts, the skull tattoo on his left breast gleaming red, mingling with the other guests at Uptown Entertainment president Andre Harrell’s party in a posh suburb in northern New Jersey. It is summer 1992 and it’s the weekend that Whitney married Bobby and the cream of black entertainment society has invaded this coast for the show. The FOAs (Friends of Andre) swim in the pool, jam to Kid Capri on the 1 and 2’s, and play shirts-on-skins b-ball on the court out front, waiting for the catered food to arrive from the Shark Bar, Manhattan’s West Side eatery of choice for black entertainment types. Russell Simmons is there, and Veronica Webb and Keenan Ivory Wayans and Babyface. But Puff Daddy is the only one with a briefcase, one of those shiny, bomb-protectant joints, opening it and closing it periodically to show folks the information inside: initial artwork for the logo of Bad Boy Entertainment. And his first words to me, as I make my way onto the back porch, are not hello or even hi how are you, but, instead, “Yo, nigga, why you frontin’?” Frontin’, as in not calling him when I said I would.
We’d actually met a few weeks earlier at a fashion show, and after introductions and small talk, he’s said to me then, “You should write a piece about me.” Not only, I thought, is he an A&R man, party promoter, stylist, video director, record producer, and remixer, but he’s also his own publicist. It’s that kind of boldness, that confident sense of purpose, that drives Sean “Puff Daddy” Combs along the path to success he has chosen. Indeed, he is a boy wonder, and, at 22 years old, possibly the second-youngest record-company president — just two months behind Dallas Austin – when Bad Boy launches this year. Codirecting and costarring in the videos of Mary J. Blige and Jodeci – the jewels in his young crown achievement – he inspires the same kind of awe and jealousy usually reserved for a front-and-center star. There is so much to do, in fact, that he employs two live-in assistants to manage his growing schedule of meetings and growing roster of acts.
And Puffy cherishes his status, thrives on the exuberance of his youth and its possibilities. He likes the hanging-out nature of his work – the club-going and party-hopping, keeping on the very edge of what’s young and black and hip. But Puffy brings something else to his behind-the-scenes machinations – he’s his own best logo. The postcards announcing the debut of Bad Boy feature Puffy in all his cultivated B-boy glory, shirtless and seated underneath a lonely streetlamp in one, poised behind jail-like bars, his arms raised dramatically, in another. He has the aura of a performer; quite possibly he is the only A&R executive in the business with as many groupies as his artists. He’s the shadowed love man in Mary J. Blige’s “Reminisce” video and the placard-carrying strutter in Heavy D’s “Don’t Cures” clip. “Puffy,” says Andre Harrell, “is the perfect icon. He embodies that kind of charisma and star power.” In the fickle world of hip hop, Puffy creates heroes and makes a hero of himself in the process.
But heroes, because they are heroes, usually bear the cross of their constituents’ sins; heroes often take falls. And just after Christmas1991, as he attempted to present a gift to his community in the form of a fund-raising celebrity basketball game, Puff Daddy’s ascendency almost came to its first abrupt and complete – some say inevitable – stop. What began as “an opportunity to get dressed up in your newest gear, a colorful event ‘cause black folks always want something to go to to be colorful,” as Andre Harrell put it, ended up as a tragedy that would reverberate around the globe. At the Nat Holman Gym at City College in Harlem, nine people were killed, victims of a stampeded of bumrushing, overeager fans. Puffy was the promoter and organizer, and in the aftermath of the event, he found himself at the center of the serve-and-volley toss-up of laying blame and anointing responsibility. His name, once synonymous with all that was fierce, irreverent, and youthful about hip hop was now the very definition of all that was fragile, violent, and immature.
“PUFFY was a ham,” says his mother, before rolling off a litany of examples like a proud stage mother. He modeled with Stephanie Mills in a Wiz layout for Essence. He was a Baskin Robbins ice-cream boy in another spread. But he’d always loved music. “ I didn’t know exactly what he would do, but he was blasting me out of the house with his mixing kit I bought him when he was 13, making that noise, scratching those records.” The house was an apartment in Esplanade Gardens, a middle-class complex in Harlem. Then, when his mother’s work for United Cerebral Palsy forced her to relocate to Westchester County, home became Mount Vernon, a mixed-race suburb just north of the Bronx. His father, who owned a limousine company, died when Puffy was three, and his grandmother raised him with his mother. “My mother was the man of the house,” Puffy says now. “She was running shit.”
But Sean — who became Puffy when he was about 12, in a game of dozens – was looking to the future anyway, to Howard University, where he would find out what being the man was really about. “I knew they had mad girls down there, and parties, but I really wanted to get a black education.” He found our in his first two weeks on campus that there was a world to conquer. “I was looking at things as a businessman by then,” Puffy says, remembering his introduction to black college life. “Experiencing black people from all different lifestyles, different parts of the country. I had to learn from this.”
He had to learn, basically, that it wasn’t who you were but who you knew. He brought his Harlem flavor to bear by throwing parties that became the place to be Friday and Saturday nights on Howard’s campus. “I started gaining friends from that. I could get anything I wanted to on campus,” he says. “If I needed to get my car fixed, I knew where to go. If I needed the English paper, I knew who to go to. If I needed an exam or some weed, I knew how to get it.”
So: schoolwork could be bought; life was easy; Puffy had it made. But he admits now that his methods were suspect. “I had a lot of immature ways about me. I don’t agree with all that stuff now. I had a lot of growing up to do.”
BACK in the late ‘80s, when Puffy was in high school and grooving into the wee hours to the beat of house music and hip hop, artists would come to clubs to film their videos. Puffy found himself dancing for Diana Ross, Fine Young Cannibals, and Babyface. Seventeen years old and hungry for a life in entertainment, he was still confused: Should he be a shaker, doing the Running Man for admiring audiences? Or should he be a mover, actually running things as The Man? When he saw the “Uptown Kickin’ It” video and the young brother named Andre Harrell at the front of the boardroom table, he decided he “wanted to be the guy sitting at the head of the table, pushing contracts aside after signing them.” Heavy D, a fellow Mount Vernonite and a premier artist at Uptown, hooked him up with an interview that landed him an internship working Thursdays and Fridays. Up at five a.m. each Thursday to get to New York by 10, Puffy would make it back to Howard by midnight each Friday for his parties. Even sneaking onto the Amtrak, hiding in the bathroom to avoid paying conductors, he was happy. “I didn’t give a fuck,” he says. “I was at Uptown.”
“My vision for the company,” says Andre Harrell, “was to create a label that was cool, that had that Harlem kind of cool hustler cachet to it.” Puffy impressed Andre, “in his shirt and tie, doing everything right, real polite and respectful.” But what he noticed underneath the polite attire was something else: “Puffy was a hustler.” So when Kurt Woodley, the A&R director at Uptown, left the company, Harrell wasn’t surprised that Puffy took him to lunch and asked to have the job. He was 18 years old.
His first project was Father MC’s debut album, which netted a gold single and respectable sales, carrying on the too-smooth style that became Uptown’s specialty with Heavy D and Guy. But gathering dust were two other projects: Jodeci, a four-man singing group from North Carolina who first record had passed without notice, and future Queen of Hip Hop Soul, a Bronx girl named Mary J. Blige.
Utilizing stereos at high volumes should be limited to VPs and Directors,” reads a memo on the walls of some offices at Uptown Records. Puffy takes this seriously. His office actually vibrates with the force of the beat. As I walk in, Puffy’s on the phone and before he cuts the call short I hear him say, “Nah, G, you think I’m gonna give the merchandising away? I come up with the flavor for my artists.” The flavor for Jodeci and Mary J. Blige, Puffy’s two biggest acts during his tenure as A&R man, came to him as a dream – soulful R&B singers in hip hop gear, a kid of mix-and-match approach that, in retrospect, seems absurdly obvious. A new genre was born. Hip hop soul, as Harrell calls it. Sound meeting sensibility at a typically contradictory African American crossroads. “And now,” says Puffy, “everybody’s trying to look like the groups that I put out, with the images I created.”
Detractors point out that the style Puffy “created” is actually just an extension of his own Harlem homeboy style – that Jodeci, for instance, are just four Puffys onstage, playing out his own narcissism. “I wouldn’t say they’re exactly like me, but it’s a combination of me and young black America,” Puffy says. He stops, ponders for a second, and then continues. “But if I was a honey, I would probably be just like Mary J. Blige. A bitch. Not in the negative connotations of the word but like, ‘That’s a bad bitch.’”
It was in this spare, busy office that the groundwork of the Puffy business occurred. The wall unit holds a small collection of books skewed mostly toward music and black studies, various Uptown artists’ 12-inch singles, and a large color television usually tuned to one video channel or another. A life-size cutout of Mary J. Blige stands at attention near the door, as if to greet visitors with the realization of Puffy’s dreams. A cactus plant, prickly as Puffy often seems, rests on the windowsill. His beeper, on vibrate mode, scurries around his desk like an impatient child; Puffy answers pages constantly. That is, when he isn’t working on the weekly column he writes for Jack the Rapper, an industry journal recounting radio activity of current records. Or when he isn’t meeting with prospective artists, who wait in the anteroom and grin at each other in anticipation of playing their demos for the man who seems to represent the increasing visibility and force of urban black boys in contemporary music. (“I saw him in that Karl Kani ad,” one of them said earlier, outside the office. “Who that nigga think he is?” “Puffy,” responded another, “that’s who.”)
He is remarkably soft-spoken, communicating mostly through body language: He might break into a sliding dance move when describing his night out at Mecca or some other club-of-the moment. Or stand stock-still with a hard-headed stare, daring you to convince him. When a young designer comes in to show a video of his clothing collection, Puffy leaves the room after a glimpse at the screen, refers the video to Sybil, his assistant, then returns to the room and describes, to a T, what he saw only two seconds of.
One day in the summer of ’92, Jodeci needed clothes for a Regis and Kathie Lee appearance. Puffy cabbed from store to store in downtown Manhattan, collecting baggy jeans and woolly skull caps, eating Chinese takeout, chatting into his cellular phone all the while. Late in the day, as I reached for my beeper, he said, “Damn, I never met a nigga get more beeps than I do.” Pause: “I bet you one of those suburban kids, got good grades in school, went to college. You wanna win a Pulitzer prize, don’t you?” This is Puffy: arrogant, boyish competition mixed with the seductive, coy recognition of ambition in others. I ask him later if he is conscious of the seduction. If, in fact, it gets him what he wants. “Anything I’ve wanted, I can say I’ve gotten it,” he says straightforwardly. “I just saw it and did it, you know? I observe. I always look at the situation before I speak and before I decide what I want. I don’t just jump my ass buck naked into the fire pit. I look at that motherfucker and see of there’s any space.
AFTER a long day of listening to demos, scheduling studio time, and preparing for the imminent debut of his own company, Puffy is headed home to the tiny suburb north of Manhattan, in his white BMW, for a much-needed rest. In a contemplative mood, he takes a circuitous route through Harlem, crisscrossing the city streets as if on a memory mission, passing prostitutes on some side streets and lost-looking children on others. Here on the road, caught for a moment between the rare field world of Uptown (the record company) and the rapidly deteriorating world of Uptown (his teenage stomping grounds), he talks about his dark side.
“A lot of my music is about pain. That’s why the masses relate to it. It’s attainable, people understand it. When Mary J. Blige sings about looking for real love, it’s fucked up, searching, you know? It’s realistic shit.”
As he drives up to a stoplight, he says, quietly, “I don’t normally be smiling, real happy, youknowhumsayin’? Ain’t nothing to be happy about. Things are fucked up. You got little kids starving, getting beat up, parents on crack, ain’t got nobody to talk to. The only time I’m really happy is when I’m at a club or the rink and they play one of my records. The motherfuckers be screaming to it. They play one of my remixes and I see the look on their faces. Or I go to the concert and see all the kids dressing and looking like my artists.
“I could have got off on the highway, but I just have to drive through Harlem to remind me about all the fucked-up shit. How fortunate I am.”
THERE’S a story about Puffy that both his detractors and admirers like to tell. When he was a little boy in Mount Vernon, he wanted a pool, refused to swim in the public pool in the park. According to one version, Puffy begged and begged for the pool and was only happy when his mother took on a second job to pay for it. When Puffy tells the story, he describes the white kids across the street and how they teased him. “They would never invite me over. I used to cry. My Moms made sure she got me a pool that was two times bigger than theirs. It took her like a year to save for it and it was the only Christmas gift, nothing else, no socks, nothing.” I ask if he thought he was spoiled. “My mother tried to get me everything I wanted. She always sacrificed and didn’t do it for herself. Maybe by some other standards I was spoiled, but I didn’t think so. I never did no flipping-put brat shit on my mother.”
When we get to his house, he tells me he bought it because of the pool. It’s a beautiful split-level, small by the town’s standards, but comfortable. Puffy shares it with his assistants Mark and Lonnie, who each have their own room off the main hall. Puffy’s bedroom is dominated by the closets and roomy, boxy shelf space filled with sneakers and shoes. Downstairs, a pool table takes up most of the space in the rec room, off of which there’s a bar and weight room and mixing room for late night scratching sessions.
Mark and Lonnie come in, carrying records and Puffy’s suit, fresh from Agnes B. Shirts need to be ironed, so Puffy challenges Mark to a game of pool. The loser will iron. “I’ma make you my bitch tonight,” Puffy tells Mark as they square up.
As Puffy wins game after game, the front door opens and his mother come sin, carrying paintings for the house. Everyone calls Mrs. Combs – a short, stylish woman with close-cropped hair – Mom. She eventually takes a seat at the bar and watches the game, telling me about her son’s hustling nature. She tells me about Puffy’s father, about how he was quite the player, the pool shark, how he would shoot pool and dice up around Lenox Avenue and 126th Street, and how Puffy probably gets his spirit, his competitiveness, naturally. Then her Mom-speak breaks in: You should ear if you gonna go out. What are you wearing tonight? You want me to fix y’all some sandwiches? And she does, heaping mounds of Steak-Umms with tomatoes and cheese.
Mark irons, Puffy dresses, Lonnie scratches on the turntables. Boys at home, before they become men in the street.
HIP HOP has always been – and will always be – about fabulousness and myth. It’s about building new stages to perform newer songs while wearing the newest clothes. But from its fitful birth on the cracked pavement that lined the blocks of upper New York City until the mid ‘80s, when Run-D.M.C. rushed up the pop charts with the other American Realness acts (Springsteen, John Cougar Mellencamp), “hip hop” was “rap,” ethnic and subcultural, taken for granted by the kids from around-the-way, dismissed by the High Pop tastemakers with the contempt they reserved for that which they didn’t understand. But there were a few who could keep the equation in their heads. Russell Simmons and Fab 5 Freddy, for instance, saw the “in,” saw the never-quenchable thirst of major labels and downtown art galleries as creating the next, and logical, pit stops for this new, evolving thing. Some called it selling out.
But there was another generation behind them, who could also keep the equation in their heads, as they danced to the residue of black power that seeped through the grooves of Public Enemy and KRS-One records. They were also watching the decade-defining shenanigans on Dynasty and buying into the record-breaking event called Thriller and imbibing the language of bigness, or largeness, as it would be called in hip hop parlance, where words come and got a feverishly junk-bondish turnover rate.
Puffy is from that generation. They know that blackness means fierceness in the face of adversity. They know that they can yell “Fuck white people” or call yourself a “nigga” and make millions. Their first hip hop shows were often stadium-size or live freestyling on, of all places, MTV. They are conscious of their era, and they know they exist because they spend money on entertainment that tells them they exist. And closer to home, they saw that the people with the fresh cars and nice clothes were not parents of kids their age, but actually kids their age, kids with lethally legal and illegal businesses. Gettin’ paid. Livin’ large. Whether on the money-makin’, boogie-down tip of the entertainment world or the hardcore of the street, black people could own. And what better to own and market, to turn into a mock grass-roots cottage industry, than the culture itself? Says one industry insider, “All these young boys wanna ne in the music business to get large, when they would be out in the street selling drugs. The music industry is perfect for them, ‘cause it’s just a legal form of drug dealing.”
Listen to Puffy talk about drive, about the reason he gets up in the morning: “The young kids – all the real motherfuckers across the world that’s young and black – they need that real shit. Motherfuckers need that shit, youknowhumsaying’? They got to hear it. Like, if records stopped being made, motherfuckers would be jumping out of windows or something. That shit is almost like a drug.”
That’s also the reason he started throwing parties.
HIP HOP parties had, for the most part, been banned in New York, due to an increasing amount of violence and recurrent, racist complaints about noise. But Puffy needed a nightlife. Why not just create one? “I found myself being this senior executive of A&R,” he says now, “and I was like, yo, I wanted to use my power and my money and rent some of these clubs, so we could have a place to go.” Kicking off his reputation with a Christmas party in 1989, when he was starting out at Uptown, he threw a fete for the industry, he says, “to kind of announce myself. It was real dope.”
He teamed up with Jessica Rosenblum, a downtown club fixture, who once womaned the door at Nell’s. She’d established a niche for herself by organizing social functions for the music industry and came with a reputation as a white woman on the hip hop make, one of the many white faces popping up more and more frequently on the scene. She and Puffy became partners with the opening of Daddy’s House as the Red Zone, a home for hardcore hip hop where you could roll with the flavor to the latest beats, complete with live shows and plenty of attitude. “We were equal partners,” Puffy says, “but I was more on the creative end, I knew more of the people.” Daddy’s House received the imprimatur of the hip hop tastemakers and Puff Daddy became synonymous with the hippest underground jams in New York City. Rosenblum describes Daddy’s House this way: “You know a party is a success when it turns up in a rap song. Daddy’s House did.”
But its success was short-lived. Fights began to break out. Jessica wanted to expand her own operation. Puffy had a regular job, with increasing responsibility. “It just started to become too much pressure for me,” he says now. “And I was making money from work. I didn’t want party promotions to be the main thing in my life.”
But in December of 1991, one particular party would become the only thing in his life.
IT all started when Magic Johnson announced he was HIV-positive. Puffy was upset and wanted to host a celebrity basketball game to raise both money and community awareness. Well-practiced by now in the art of promotion, on the day of the game Puffy had everything running smoothly. Heavy D had gotten involved in the plans, and by late afternoon a posse of usually reticent artists – Boyz II Men, Mary J. Blige, Jodeci, Michael Bivins, EPMD – and hundreds of fans had shown up at the Nat Holman Gym.
“As it started getting dark, we had to shut the doors cause the line had got disorganized out front,” Puffy says. “The police came in through the back door and we were like, ‘Yo, there’s too many people out there.’ We told them we really needed their help. This white sergeant said okay and they all left the building out through the back and then like about an hour later, the people in the pay line started pushing on the doors. Inside the gym, it was only 40 percent capacity filled. But we weren’t gonna let nobody else in. Anybody who got caught outside with tickets, we were gonna refund their money. We just didn’t wanna take chances by opening the doors back up.
“But people started pushing from the outside and the doors just snapped off the hinges and people just started pouring in. People started jumping down the staircase. People started piling on top of each other and glass started breaking in the doors and people were getting scared and running.
“Pushing and pushing. It was more pressure. Then all of a sudden, I’m on the other side of the door, pulling people through so we could open some of the other doors, but even as we started pulling people in, more people were pushing through. We started screaming to people to get back, to back up. And like a few minutes later, we saw people passing out cause of the heat.”
He pauses, drawing in a breath. “And we started seeing some scary shit. People’s eyes were going back in their heads and I’m thinking, people could die out here. A big kid had gotten stuck in the door and we couldn’t pull him through or anybody else. The cops were being called, but nobody was coming.
“And I could just feel it. I was thinking some of the people were dying or dead. People had started to regurgitate. Nobody was trying to give mouth-to-mouth resucitation, so I started and other people started. One guy that I knew, we were trying to revive him for like 45 minutes. He was throwing up in my mouth but I didn’t care. We were like, Yo, man, you gotta live. We were pumping his chest and breathing into him. And I’m seeing my girlfriend buggin’ out because her best friend is there, not breathing, and I’m trying to give her mouth to mouth. And I start to feel this feeling, in the breath I’m getting back, that people were dead. I could feel the death going into me.
“Later,” he continues, his voice quietest now, “I went home, and I kept saying to myself that it was all a bad dream, that I was gonna wake up. But I never woke up. And the next day we contacted the police and the mayor’s office. But people just looked at the flyer and saw my name and Heavy D’s name and started blaming everybody, people saying whoever threw the event must have fucked up. And the press started drawing conclusions before the actual investigation.”
Accusations flew from all corners. The director of the student center at City College blamed the president of the Evening Student Government, claiming in the New York Times that she had misled him about “her skill in organizing such events, the size of the expected crowd and to whom the proceeds were to be donated.” It turned out, also, that the AIDS Education Outreach Program, the charity to which a portion of the proceeds were to have gone, was questionable. It had not been registered as a charity in Albany, according to the Times, and “was not known among anti-AIDS groups.”
In televised press conferences, Puffy looked shrunken and young, hesitant in speech and demeanor. He went underground to avoid ensuing melee of judgement. Even Rosenblum, whom Puffy had hired to work the door (not to co-promote, as was rumored), admits that the situation took its toll on him. “It made him learn to think things through,” says Rosenblum now. “Puffy’s used to telling people what he wants and having them execute it. Unfortunately, this time, the people working for him didn’t fully execute the plan. It wasn’t Puffy’s fault, but it was his responsibility.
Says Puffy, “I started to lose it. I felt like I didn’t want to even live no more. I was so fucking sad. The legal counsel was not to go anywhere, not to talk to anybody. But I wanted to go to the wakes and funerals and try to provide some comfort, even though I knew my presence probably wouldn’t have given comfort. But what I was going through, with the blame and stuff, was nothing compared to what the families were going through.
“I couldn’t eat,” he recalls now, sitting forward in his seat. “I was just sleeping, like a mummy. I didn’t talk to nobody. And every time I turned on the news there was something about the event of the money or something.
“I was scared throughout the whole event. There’s no big hero story to all this. I’d never had that much up against me. I had to be a man or die. And I was deserted. There was like, fake, nosy support. But a lot of people I thought were my friends just fell by the wayside. I had my mother and my girl and Andre, and a few other friends.
“But I have to live with the fact that people meet me or see me and no matter how many platinum records I have or whatever, they’ll think, ‘Oh, that’s the guy who murdered nine people at City College.’ Cause they didn’t check out the mayor’s report that cleared me of all the blame. [The City Hall report actually found that Combs had delegated responsibilities to inexperienced associates and should have arranged better security to handle the expected large crowds.] But I imagine the pain the families go through and I understand that what I went through and will go through is nowhere near their pain. And that’s the thing that kept me going, knowing if they had the strength to go on, I had the strength to go on and handle people looking at me and thinking whatever they’re gonna think.”
“The City College event grew him up quick,” Heavy D says. “He was on a path where he could have destroyed himself. He was on a high, you know, he was ‘Puffy!’ doing all this stuff at his age. But every disaster has a delight. There’s a lesson in disguise.”
Always a “panicky young man,” as Heavy D describes him, Puffy no longer moved with the same reckless abandon, rushing headlong toward whatever goal he set. And even though outsiders looked to place blame on easy official targets like City College or the police, Puff found the answer in the community that bred his style, in his music, himself. “It wasn’t that tickets were oversold like people said. It wasn’t the fire department’s fault or the cops’. And it wasn’t simply that ‘niggas are crazy,’ as people say,” he says. “It’s just that overall in the black community there’s a lack of self-love. The majority of the kids weren’t necessarily gonna put themselves in the position to get hurt, but when ti came time to love their neighbors and move back, they couldn’t love their neighbors because they didn’t love themselves.”
And that’s probably the hardest thing for Puffy to accept: that, in essence, The City itself was responsible for the nine deaths forever linked to his name – The City and its dark side, which feeds on the constant restlessness of the shut-out and put-down, which takes away the places of recreation that might be a respite from the infrequent, hyped “events” kids are attracted to, the places where their heroes can shine bright and strong.
BUT Puffy’s job was to create those heroes, and he had to go back to work soon after the tragedy. Jodeci and Mary J. Blige were blowing up around the country and bringing a whole new image of young blackness to the masses. Mary J. Blige’s blasé, Uptown Girl attitude mixed with hip hop beats, and a talent show vocal aggressiveness redefined the concept of the soul-shouting diva. Puffy was also at work on Blue Funk, Heavy D’s darkest album, full of pain of love lost and maturity gained. Jodeci became the standard-bearer of urban black-boy stoicism, but with a supple, gospel sound that made R&B edgy again.
And edginess is what Puffy likes. In the works was Bad Boy Entertainment, Puffy’s own management and record company. During the aftermath of City College, says his mother, “A lot of people showed Sean there asses to kiss. I was there for him, and we became a lot closer, we started communicating better.” She realized just how determined her son was about having his own company. “I didn’t want him going down the drain,” Mrs. Combs says now. “I told him not to worry, that we’d have our own thing. I had planned to help him all along, but this seemed like a good time. I invested in something for him.”
“Puffy is a warrior, he’ll go for his,” say Andre Harrell. Sean wants Bad Boy to embody to his own personal energy and philosophies. Bad Boy wants to be edgier, harder. They would sign a gangster rapper. I think Puffy wants to deal with more rebellious issues.”
I ask Andre about Puffy’s rebellion thing. He laughs and outlines his Theory of Black Folks: There are “ghetto negroes, then colored negroes who are upper lower class or lower middle class who want to go to college and feel the need to be dressed up everywhere they go, you know, working with the system so the system will work for them. Then there’s just Negroes, saying’, I’ve had a credit card for ten years, my father went to college. Puffy is somewhere between ghetto and colored. He is very much like Russell [Simmons]. Puffy was raised colored, went to private school. And that’s why he wants to be rebellious. He didn’t grow up where rebellious was just normal. Colored folks want to be down with the ghetto.”
LATE one Sunday night, Puffy and I sit in his white BMW, on East 21st Street in Manhattan, and I ask him about the ghetto thing and its influence on his music. He tells me that even though he didn’t grow up in the projects, he was “always attracted to motherfuckers who were real, niggas who really didn’t have a lot. Like, a person could live in the suburbs, but they may not have no friends there. You don’t really have nothing if you don’t have no friends and your mother is a single parent and she may never be around and you ain’t really got shit.”
“Are you talking about yourself?”
“Yeah, in a sense. But the majority of kids in the suburbs was made, you know? Their parents made them a certain way. These kids from the ghetto had no choice. They didn’t have shit, but they were real.”
Finally he boils it down to its essence: “I don’t like no goody-two-shoe shit. I like the sense of being in trouble. It’s almost like a girl, youknowhumsayin’? Girls don’t like no good niggas. Girls like bad boys.”
Heavy D believes that Puffy – the persistent kid from around the way, who found that all his dreams and nightmares could merge in a single moment – is “slowly yet surely realizing that what he has is a gift. In my opinion, Puffy was responsible for Father MC, Mary J. Blige and Jodeci. Especially Jodeci. You gotta remember that they had a record out before, and they only blow up when Puffy got in the loop. But Puffy has to realize that that gift ain’t for him. It’s for other people.”
With the debut of the Bad Boy artists, Puffy’s ultimate test awaits him. The four acts on the roster are acts hand-picked by Puff Daddy himself, not acts passed down for his overseeing. Although the first release, Notorious Big’s “Party and Bullshit,” featured on Who’s the Man? soundtrack, has an irresistible street flavor that seems to have caught the attention of the party people, it remains to be seen whether Puffy has the ears to go with his eyes, whether he can see a project from its inception to its fruition with the same level of success. Faith, it seems, will show him the way.
Sitting in the car on 21st Street, Puffy is preparing to go into Soundtrack studios to remix Mary J. Blige’s next single. Perhaps that, and recounting the City College nightmare, explains the sudden darkness in his manner. He leans back in the leather seat and sighs. “I just like talking to God, realizing that my shit ain’t nothing, my problems are so minute. I pray every night, every day, I talk to God a lot. I carry a Bible with me all the time.”
He pulls a tiny, tattered, dog-eared Bible from his back pocket and turns to Psalms. He reads: “The Lord is my light and my salvation; whom shall I fear? The Lord is the strength of my life; of whom shall I be afraid? When the wicked, even my enemies and my foes, came upon me to eat at my flesh, they stumbled and fell.”
This is the text of Puffy’s next tattoo.
EPILOGUE: Whatever the reason for Puffy’s dismissal from Uptown – and we may never know the real reason, or, for that matter, the true nature of the relationship between Puff Daddy and Andre Harrell – both men continue to speak well of each other. Harrell’s Uptown will continue to oversee the development of Bad Boy’s first three artists – at Puffy’s request. Puffy will retain the Bad Boy concept and has the freedom to develop his dream elsewhere.
Just three days after being fired, Puffy remained his cool and contained self. “My only regret,” he says, quietly, patiently, “is that if I had any flaws, I could have been nurtured or corrected, instead of people giving up on me. Somebody older may think I have nothing to be angry about ‘cause I did what they did in half the time. But I’m not ungrateful for what I’ve received.” He sighs, “But this is just another chapter. This ain’t no sad ending.”
And he is right. It won’t be long before there is yet another Puffy story to tell.
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BIG Wheels: Rollin' With The Notorious B.I.G. And Faith
BIG Wheels: Rollin’ With The Notorious B.I.G. And Faith
BIG Wheels: Rollin' With The Notorious B.I.G. And Faith
THINGS DONE CHANGED
YOU GOTTA HAVE FAITH
Written By: Emil Wilbekin
“I asked for it,” says Faith Evans, laughing at the thought of her crazy, busy life. “I knew what I was getting into.”
And the 22-year-old singer of the hit “You Used To Love Me” ain’t lyin’ – she keeps a hectic schedule. On any day, the ghetto chanteuse might be getting her weave done, paying her bills, talking on the phone with Biggie, feeding her two-year-old daughter Chyna, making travel arrangements, and trying to keep it all together – all at the same time.
It isn’t easy, but it’s fun,” she says. “I wanted a child, a husband, a career. I’m on e of those people who always has my hand in everything.”
That’s how her musical career began. “I started singing when I was two at my church in Newark,” Faith says. “I don’t remember how I ended up at the mike, but I sang a song I heard on The Flintstones: ‘Let the Sunshine In.’ That was my little debut thing.”
She didn’t stop there. Faith appeared in high school musicals, studied jazz and classical music, and even ended up with a New Jersey Miss Fashion Teen title. Then the high school honor student started at Fordham University on an academic scholarship, majoring in marketing. After a year, though, she left to market herself.
And it’s worked. Aside from sounding lovely on her self-titled first album, Faith’s stirring voice can be heard on Biggie’s “One More Chance.” Plus she’s written songs for chart-busters like Mary J. Blige and Color Me Badd. In fact, it was while working on Usher’s debut album that Puffy Combs got sparked by her skills and signed her. She’s been upward bound ever since.
While Faith’s voice conjures a resonant mix of Minnie Riperton, Ella Fitzgerald, and Chaka Khan, she’s most often compared to May. But the sultry songstress shakes her head at that notion. Despite the platinum blond hair, pouty lips, and Puffy connection, Miss Faith has her own style. “Me and my album,” she says, grinning, “can’t even be categorized.”
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East vs. West: Biggie & Puffy Break Their Silence
East vs. West: Biggie & Puffy Break Their Silence
East vs. West: Biggie & Puffy Break Their Silence
STAKES IS HIGH
Puffy and Biggie break their silence on Tupac, Death Row, and all the East-West friction. A tale of bad boys and bad men.
Words By: Larry “The Blackspot” Hester
Photographs By: Dana Lixenberg
Issue: September 1996
Now, we can settle this like we got some class, or we can get into some gangster shit. –Max Julien as Goldie in The Mack
It’s hard to believe that someone who has seen so much could have such young eyes. But the eyes of Sean “Puffy” Combs, bright, brown, and alert, reflect the stubborn innocence of childhood. His voice, however, tells another story. Sitting inside the control room of Daddy’s House Studios in Midtown Manhattan, dressed in an Orlando Magic jersey and linen slacks, Puffy speaks in low, measured tones, almost whispering.
“I’m hurt a little bit spiritually by all the negativity, by this whole Death Row-Bad Boy shit,” says Puffy, president of Bad Boy Entertainment, one of the most powerful creative forces in black music today. And these days, one of the most tormented. “I’m hurt that out of all my accomplishments, it’s like I’m always getting my most fame from negative drama. It’s not like the young man that was in the industry for six years, won the ASCAP Songwriter of the Year, and every record he put out went at least gold…All that gets overshadowed. How it got to this point, I really don’t know. I’m still trying to figure it out.”
So is everyone else. What’s clear is that a series of incidents—Tupac Shakur catching bullets at a New York studio in November ’94, a close friend of Death Row CEO Suge Knight being killed at an Atlanta party in September ’95, the Notorious B.I.G. and Tupac facing off after the Soul Train Music Awards in L.A. this past March—have led to much finger-pointing and confusion. People with little or no connection to Death Row or Bad Boy are choosing up sides. From the Atlantic to the Pacific, hip hop heads are proclaiming their “California Love” or exclaiming that the “the East is in the house” with the loyalty of newly initiated gang members. As Dr. Dre put it, “Pretty soon, niggaz from the East Coast ain’t gonna be able to come out here and be safe. And vice versa.”
Meanwhile, the two camps that have the power to put an end to it all have yet to work out their differences. Moreover, Suge Knight’s Death Row camp, while publicly claiming there is no beef, has continued to aggravate the situation: first, by making snide public comments about the Bad Boy family, and second, by releasing product that makes the old Dre-vs.-Eazy conflict look tame. The intro to the video for the Tupac/Snoop Doggy Dogg song “2 of Americaz Most Wanted” features two characters named Pig and Buff who are accused of setting up Tupac and are then confronted in their office. And the now infamous B-Side, “Hit Em Up,” finds Tupac, in a fit of rage, telling Biggie, “I fucked your bitch, you fat motherfucker,” and then threatening to wipe out all of Bad Boy’s staff and affiliates.
While the records fly off the shelves and the streets get hotter, Puffy and Big have remained largely silent. Both say they’ve been reluctant to discuss the drama because the media and the public have blown it out of proportion. At press time, there were rumors festering that Puffy—who was briefly hospitalized June 30 for a cut arm—had tried to commit suicide, causing many to wonder if the pressure had become too much. Determined to put an end to all the gossip, Puffy and Big have decided to tell their side.
“Why would I set a nigga up to get shot?” says Puffy. “If I’ma set a nigga up, which I would never do, I ain’t gonna be in the country, I’ma be in Bolivia somewhere.” Once again, Puffy is answering accusations that he had something to do with Shakur’s shooting at New York’s Quad Recording Studio, the event that sowed the seeds of Tupac’s beef with the East.
In April 1995, Tupac told VIBE that moments after he was ambushed and shot in the building’s lobby, he took the elevator up to the studio, where he saw about 40 people, including Biggie and Puffy. “Nobody approached me. I noticed that nobody would look at me,” said Tupac, suggesting that the people in the room knew he was going to be shot. In “Hit ‘Em Up,” Tupac does more than suggest, rapping, “Who shot me? But ya punks didn’t finish/Now you’re about to feel the wrath of a menace.”
But Puffy says Tupac’s barking up the wrong tree: “He ain’t mad at the niggas that shot him; he knows where they’re at. He knows who shot him. If you ask him, he knows, and everybody in the street knows, and he’s not stepping to them, because knows that he’s not gonna et away with that shit. To me, that’s some real sucker shit. Be mad at everybody, man; don’t be using niggas as scapegoats. We know that he’s a nice guy from New York. All shit aside, Tupac is a nice, good-hearted guy.”
Taking a break from recording a new joint for his upcoming album, Life After Death, Big sinks into the studio’s sofa in a blue Sergio Tacchini running suit that swishes with his every movement. He is visibly bothered by the lingering accusations. “I’m still thinking this nigga’s my man,” says Big, who first met Tupac in 1993 during the shooting of John Singleton’s Poetic Justice. “This shit’s just got to be talk, that’s all I kept saying to myself. I can’t believe he would think that I would shit on him like that.”
He recalls that on the movie set, Tupac kept playing Big’s first single, “Party and Bullshit.” Flattered, he met Tupac at his home in L.A., where the two hung out, puffed lah, and chilled. “I always thought it to be like a Gemini thing,” he says. “We just clicked off the top and were cool ever since.” Despite all the talk, Big claims he remained loyal to his partner in rhyme through thick and thin. Honestly, I didn’t have no problem with the nigga,” Big says. “There’s shit that muthafuckas don’t know. I saw situations and how shit was going, and I tried to school the nigga. I was there when he bought his first Rolex, but I wasn’t in the position to be rolling like that. I think Tupac felt more comfortable with the dudes he was hanging with because they had just as much money as him.
“He can’t front on me, “ says Big. “As much as he may come off as some Biggie hater, he knows. Kne knows when all that hit was going down, I was schooling a nigga to certain things, me and [Live Squad rapper] Stretch—God bless the grave. But he chose to do the things he wanted to do. There wasn’t nothing I could do, but it wasn’t like he wasn’t my man.
While Tupac was taking shots at Biggie—claiming he’d bit his “player style and sound—Suge was cooking up his own beef with Bad Boy. At the Source Awards in August 1995, Suge made the now legendary announcement, “If you don’t want the owner of your label on your album or in your video or on your tour, come sign with Death Row.” Obviously directed at Puffy’s high-profile role in his artists’ careers, the remark came as a shock. “I couldn’t believe what he said,” Puffy recalls. “I thought we was boys.” All the same, when it came time for Puffy to present an award, he said a few words about East-West unity and made a point of hugging the recipient, Death Row artist Snoop Doggy Dogg.
Nonetheless, Suge’s words spread like flu germs, reigniting ancient East-West hostilities. It was in this increasingly tense atmosphere that Big and the Junior M.A.F.I.A. clique reached Atlanta for Jermaine Dupri’s birthday party last September. During the after-party at a club called Platinum House, Suge Knight’s close friend Jake Robles was shot. He died at the hospital a week later. Published reports said that some witnesses claimed a member of Puffy’s entourage was responsible.
At the mention of the incident, Puffy sucks his teeth in frustration. “Here’s what happened,” he says. “I went to Atlanta with my son. At that time, there wasn’t really no drama. I didn’t even have bodyguards, so that’s a lie that I did. I left the club, and I’m waiting for my limo, talking to girls. I don’t see [Suge] go into the club; we don’t make any contact or nothing like that. He gets into a beef in the club with some niggas. I knew the majority of the club, but I don’t know who he got into the beef with, what it was over, or nothing like that. All I heard is that he took beef at the bar. I see people coming out. I see a lot of people that I know, I see him, and I see everybody yelling and screaming and shit. I get out the limo and I go to him like, ‘What’s up, you all right?’ I’m trying to see if I can help him. That’s my muthafuckin’ problem, Puffy says, pounding his fist into his palm in frustration. “I’m always trying to see if I can help somebody.
“Anyways, I get out facing him, and I’m like, ‘What’s going on, what’s he problem?’ Then I hear shtos ringing out, and we turn around and someone’s standing right behind me. His man—God bless the dead—gets shot, and he’s on the floor. My back was turned; I could’ve got shot, and he could’ve got shot. But right then he was, like, ‘I think you had something to do with this.’ I’m, like, ‘What are you talking about? I was standing right here with you!’ I really felt sorry for him, the the sense that if he felt that way, he was showing me his insecurity.”
After the Atlanta shooting, people on both coasts began speculating. Would there be retribution? All-out war? According to a New York Times Magazine cover story, Puffy sent Louis Farrakhan’s son, Mustafa, to talk with Suge. Puffy says he did not send Mustafa but did tell him, “If there’s anything you can do to put an end to this bullshit, I’m with it.” The Times reported that Suge refused to meet with Mustafa. Suge has since declined to speak about his friend’s murder.
Less than two weeks later, when it came time for the “How Can I Be Down?” rap conference in Miami, the heat was on. Suge, who has never concealed his past affiliations with L.A’s notorious Bloods, was rumored to be coming with an army. Puffy was said to be bringing a massive of New York drug lords and thugs. When the conference came and Puffy did not attend, Billboard reported that it was due to threats from Death Row.
`On December 16, 1995, it became apparent that the trouble was spilling into the streets. In Red Hook, Brooklyn, shots were fired at the trailer where Death Row artist Tha Dogg Pound were making a video for “New York, New York”—which features Godzilla-size West Coasters stomping on the Big Apple. No one was hurt, but the message was clear. Then came “LA, La,” an answer record from New York MC’s Tragedy, Capone, Noreaga, and Mobb Deep. That video featured stand-ins for Tha Dogg Pound’s Daz and Kurupt being kidnapped, tortured, and tossed off the 59th Street Bridge.
By this time, the rumor mill had kicked into overdrive. The latest story was that Tupac was boning Biggie’s wife, Faith Evans, and Suge was getting with Puffy’s ex, Misa Hylton. Death Row allegedly printed up a magazine ad featuring Misa and Suge holding Puffy’s two-year-old son, with a caption reading “The East Coast can’t even take care of their own.” The ad—which was discussed on New York’s Hot 97 by resident gossip Wendy Williams—never ran anywhere, but reps were tarnished nonetheless. Death Row now denies that such an ad ever existed. Puffy says he didn’t know about any ad. Misa says, “I don’t do interviews.”
Meanwhile, Tupac kept rumors about himself and Faith alive with vague comments in interviews like “You know I don’t kiss and tell.” But in “Hit Em Up,” released this May, he does just that, telling Biggie, “You claim to be a player, but I fucked your wife.” (Faith, for her part, denies ever sleeping with Tupac.)
When talk turns to his estranged wife, Biggie shrugs his shoulders and pulls on a blunt. “if the muthafucka really did fuck Fay, that’s foul how he’s just blowin’ her like that,” he says. “Never once did he say that Fay did some foul shit to him. If honey was to give you that pussy, why would you disrespect her like that? If you had beef with me, you’re like, ‘Boom, I’ma fuck his wife,’ would you be so harsh on her? Like you got beef with her? That shit doesn’t make sense. That’s why I don’t believe it.”
What was still mostly talk and propaganda took a turn for the ugly at the Soul Train Awards this past March. When Biggie accepted his award and bigged-up Brooklyn, the crowd hissed. But the real drama came after the show, when Tupac and Biggie came face-to-face for the first time since Pac’s shooting more than two years before. “That was the first time I really looked into his face,” says Big. “I looked into his eyes and I was like, Yo, this nigga is really buggin’ the fuck out.”
The following week’s Hollywood Reporter quoted an unnamed source saying that Shakur waved a pistol at Biggie. “Nah, Pac didn’t pull steel on me,” says Big. “He was on some tough shit, though. I can’t knock them dudes for the way they go about their biz. They made everything seem so dramatic. I felt the darkness when he rolled up that night. Duke came out the window fatigued out, screaming ‘West Side! Outlaws!’ I was, like, ‘That’s Bishop [Tupac’s character in the movie Juice]!’ Whatever he’s doing right now, that’s the role he’s playing. He played that shit to a tee. He had his little goons with him, and Suge was with him and they was like, li, ‘We gonna settle this now.’”
That’s when Big’s ace, Little Caesar of Junior M.A.F.I.A., stepped up. “The nigga Ceez—pissy drunk—is up in the joint, like, ‘Fuck you!’” Big recalls. “Ceez is, like, ‘Fuck you, nigga! East Coast, muthafucka!’ Pac is, like, ‘We on the West Side now, we gonna handle this shit.’ Then his niggas start formulating and my niggas start formulating—somebody pulled a gun, muthafuckas start screaming, ‘He got a gun, he got a gun!’ We’re, like, ‘We’re in L.A. What the fuck are we supposed to do, shoot out?’ That’s when I knew it was on.”
But not long after the Soul Train incident, it appeared as if Death Row might be starting to chill. At a mid-May East-West “rap summit” in Philadelphia, set up by Dr. Ben Chavis to help defuse the situation, Suge avoided any negative comments about Puffy (who did not attend because he says there was too much hype around the event). “There’s nothing between Death Row and Bad Boy, or me and Puffy,” said Knight. “Death Row sells volume—so how could Puffy be a threat to me, or Bad Boy be a threat to Death Row?” A few weeks later, however, Death Row released a song that told a different tale.
When Tupac’s “Hit ‘Em Up”—which mimics the chorus of Junior M.A.F.I.A.’s Player’s Anthem” (“Grab your Glocks when you see Tupac”)—hit the streets of New York, damn near every jeep, coupe, and Walkman was pumping it. No fakin’ jacks here, son; Tupac set it on the East something lovely. He says he put out the song in relation for Big’s 1995 “Who Shot Ya,” which he took as a comment on his own shooting. “Even if that song ain’t about me,” he told VIBE, “You should be, like, ‘I’m not putting it out, ‘cause he might think it’s about him.’”
“I wrote that muthafuckin’ song way before Tupac got shot,” says Big, like he’s said it before. “It was supposed to be the intro to that shit Keith Murray was doing on Mary J. Blige’s joint. But Puff said it was too hard.”
As if the lyrical haymakers thrown at Bad Boy weren’t enough, Pac went the extra mile and pulled Mobb Deep into the mix, “Don’t one of you niggas got sick-cell or something?” he says on the record. “You gonna fuck around and have a seizure or a heart attack. You’d better back the fuck up before you get smacked the fuck up.”
Prodigy of Mobb Deep says he couldn’t believe what he heard. “I was, like, Oh Shit. Them niggas is shittin’ on me. He’s talking about my health. Yo, he doesn’t even know me, to be talking about shit like that. I never had any beef with Tupac. I never said his name. So that shit just hurt. I’m, like, Yeah, all right, whatever. I just gotta handle that shit.” Asked what he means by “handling” it, Prodigy replies, “I don’t know, son. We gonna see that nigga somewhere and—whatever. I don’t know what it’s gonna be.” In the meantime, the infamous ones plan to include an anwer to “Hit ‘Em Up” on the B-side of an upcoming single.
In a recent interview with VIBE online, Tupac summed up his feelings toward Bad Boy in typically dramatic fashion: “Fear got stronger than love, and niggas did things they weren’t supposed to do. They know in their hearts—that’s why they’re in hell now. They can’t sleep. That’s why they’re telling all the reporters and all the people, ‘Why they doing this? They fucking up hip hop’ and blah-blah-blah,’ cause they in hell.
They can’t make money, they can’t go anywhere. They can’t look at themselves, ‘cause they know the prodigal son has returned.”
In the face of all this, one might wonder why Biggie hasn’t retaliated physically to Tupac’s threats. After all, he’s the same Bedstuy soldier who rapped, “C-4 to your door, no beef no more.” Says Big, “The whole reason I was being cool from Day One was because of that nigga Puff. ‘Cause Puff don’t get down like that.”
So what about a response on record? “He got the streets riled up because he got a little song dissing me,” Big replies, “but how would I look dissing him back? My niggas is, like, ‘Fuck dat nigga, that nigga’s so much on your dick, it don’t even make no sense to say anything.”
Given Death Row’s intimidating reputation, does Puffy believe that he’s in physical danger? “I never knew of my life being in danger,” he says calmly. “I’m not saying that I’m ignorant to the rumors. But if you got a problem and somebody wants to get your ass, they don’t talk about it. What it’s been right now is a lot of moviemaking and a lot of entertainment drama. Bad boys move in silence. If somebody wants to get your ass, you’re gonna wake up in heaven. There ain’t no record gonna be made about it. It ain’t gonna be no interviews; it’s gonna be straight-up ‘Oh shit, where am I? What are these wings on my back? Your name is Jesus Christ?’ When you’re involved in some real shit, it’s gonna be some real shit.
But ain’t no man gonna make me act a way that I don’t want to act. Or make me be something I’m not. I ain’t a gangster, so why y’all gonna tell me to start acting like a gangster? I’m trying to be an intelligent black man. I don’t give a fuck if you niggas think that’s corny or not. If anybody comes and touches me, I’m going to defend myself. But I’ma be me—a young nigga who came up making music, trying to put niggas on, handle his business, and make some history.”
The history of hip hop is built on battles. But it used to be that when heads had a problem, they could pull a mike and settle it, using hollow-point rhymes to run their competitors off the map. Well, things done changed. The era of the gun clapper is upon us, with rappers and record execs alike taking their cue from Scarface. Meanwhile, those on the sidelines seem less concerned with the truth than with fanning the flames—gossiping about death threats and retribution, lying in wait for the first sign of bloodshed.
When the bloodshed came, it wasn’t quite what people expected. On June 30, Puffy was rushed to the emergency room of St. Luke’s—Roosevelt Hospital in Upper Manhattan, where he was treated for a deep cut to his lower right arm. New York’s Daily News called it a “slit wrist,” implying that it was more than an accident. Puffy calls the story nonsense. “I was playing with my girl and I reached for a champagne glass and it broke on my bracelet, cutting my arm,” he says. “I ain’t tryin’ to kill myself. I got problems but it ain’t that bad.”
More than anything, Puffy seems exhausted by the whole ordeal. But after all he’s seen in the past two years, nothing can surprise him—except, maybe, the squashing of this beef. “I’m ready for it to come to a head, however it gotta go down,” he says. “I’m ready for it to be out my life and be over with. I mean that from the bottom of my heart. I just hope it can end quick and in a positive way, because it’s gotten out of hand.”
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The Notorious B.I.G.: ‘Chronicle Of A Death Foretold’
The Notorious B.I.G.: ‘Chronicle Of A Death Foretold’
The Notorious B.I.G.: ‘Chronicle Of A Death Foretold’
‘Chronicle Of A Death Foretold’
Written By: Cheo Hodari Coker
Issue: May 1997
Exactly six months ago, with our November issue on its way to the printer, we received word that Tupac Shakur had died in Las Vegas after being shot in a drive-by. This time, again as the presses were about to roll, we were hit with more terrible news: Th e Notorious B.I.G., a.k.a. Biggie Smalls, born Christopher Wallace, had been shot and killed while driving away from a party cosponsored by VIBE at an L.A. nightclub.
This latest tragedy came a week after Death Row Records CEO Suge Knight had been sentenced to nine years in prison for parole violation. In just a few short months, two extraordinarily talented young men who were at the center of the stupid and overhyped rivalry between Death Row and Bad Boy, played out so extensively in our pages over the past year, were dead, and another was behind bars.
This month we had planned a special Sex issue, an exploration of matters of the heart and the flesh. It’s our intention that VIBE cover the whole spectrum of urban culture, including the fun stuff. But as long as our icons keep dying in bursts of gunfire, that kind of fun needs to take a back seat so we can begin rebuilding. As soon as we heard about Biggie, we knew that this issue’s cover had to change. The juxtaposition of these grim stories-Biggie’s murder, Suge’s incarceration-with the remnants of our Sex issue may seem strange, but it’s no stranger than the situation we find ourselves in: We set out to write about sex but ended up, once again, having to confront death.
There’s a wonderful diversity of individuals in the hip hop community, and in that diversity lies strength. We all need to come together and take responsibility for ourselves and for each other before more lives are lost. If we simply allow things to stay as they are, if we’re afraid to take a moral stand, there will be blood on all of our hands. We have passed the point for words; now is the time for action and change.
Let us all pray that this is the last time we at VIBE have to cover the murders of our music’s heroes.
Our deepest condolences go out to the Wallace family, Bad Boy Entertainment, and all of Biggie’s fans.
–
Everything was looking good for Biggie Smalls on March 8. It was a warm and sunny L.A. Saturday, and he was chillin’ like a star. The big man had spent much of the day with his agent, Phil Casey, discussing his upcoming tour with Dru Hill, BLACKstreet, and Heavy D. The day before, he’d presented a Soul Train Award to Toni Braxton before spending the evening in his plush hotel suite, watching the awards show on TV, and talking with a journalist about how far he’d come in his 24 years.
When Biggie showed up at the Peterson Automotive Museum in L.A.’s Mid-Wilshire district Saturday night for a party cosponsored by VIBE, Qwest Records, and Tanqueray, he was dipped in a black suede shirt, a gold chain with a Jesus pendant, and clear-framed wraparound shades. He looked confident and relaxed, a long black cane supporting the slight limp he’d acquired in an automobile accident six months before.
“The party was a nice scene, especially after the stress of the Soul Train Awards,” said Kevin Kim, security guard for Big’s ex-wife, Faith Evans. “Nothing but celebs there, people having a good time. Everybody was dancin’ together; artists hugging each other, congratulating each other on the awards they won.” Shortly before midnight, the DJ blew up the spot with Big’s new single, “Hypnotize.”
“I was sitting across from Biggie for most of the night,” said Def Jam president and CEO Russell Simmons. “I was throwin’ paper at him, tellin’ him how much I liked his record. These girls were dancin’ for him, and he was just sittin’ there, not even movin’ his cane. I told him I wanted to be like him. He was so cool, so funny and calm.”
At around 12:35 a.m., fire marshals shut down the party, apparently because of overcrowding. People filed out into the parking structure connected to the museum and found their rides. After bumping some tracks from his then unreleased album, Life After Death:’Til Death Do Us Part , Biggie got into the front-passenger seat of a GMC Suburban. His man D-Rock was driving. Little Caesar from Junior M.A.F.I.A., Big’s own lyrical cartel, was in the back. When they turned out of the lot onto Fairfax, they were traveling in a line of three cars. Directly in front of them was another Suburban containing members of Biggie’s entourage; behind them, a Blazer with personal security guards.
According to police, the three cars had slowed to a stop at the first intersection, Fairfax and Wilshire, when a dark sedan pulled up along the right-hand side of Biggie’s vehicle and someone fired six to 10 shots from a 9mm weapon. Biggie lost consciousness immediately after being shot. He was rushed to nearby Cedars-Sinai Hospital and pronounced dead at 1:15 a.m. Bad Boy Entertainment president Puffy Combs and Faith were both at the hospital when the announcement was made.
The LAPD’s Lt. Ross Moen said that the Blazer with Big’s security guards chased the dark sedan for a couple of blocks but lost sight of it without getting a license plate number. At press time, the department had assigned 22 detectives to the case and was interviewing 200 witnesses. According to Moen, they had some solid leads but could describe the suspect only as “male, black, early twenties.”
“We’re not ruling out the fact that this was possibly a hit,” said Moen at a press conference the day after the murder. “We’re investigating possible connections to other murders in New York, Atlanta, and L.A. We can’t ignore the fact that there have been a number of murders involving rap singers recently.” Moen said also that they were looking into the possibility of the killing being gang-related, but he wouldn’t elaborate.
“This was a hit, something preplanned,” said one Compton resident a day after the murder. “And there’s going to be a few more hits.” According to another source, the hit was pulled off by gang members who came to the party in the entourage of a well-known rap artist and coordinated the shooting over cell phones. Another report put an individual outside the party with a cell phone saying, “He’s comin’ out now,” as Biggie left the party.
Various industry insiders have speculated that the killing had more to do with personal beefs than with rap itself, but that it’s now spilling over into the music. “Puffy thought it was all calmed down out here,” says Phil Casey. “But at Soul Train there were boos, and they were throwin’ up Westside from the balcony. That should have been a sign right there.”
Sources close to Bad Boy and Death Row dismissed widespread speculation that Wallace’s slaying was payback for Tupac’s murder. “It’s ludicrous for anyone out there to blame Death Row,” said Norris Anderson, who took over as label head after Suge Knight wa s jailed. “We do not condone this activity, and Death Row certainly had nothing to do with it.”
“It didn’t have nothin’ to do with East-West rivalry, but it does now,” says one former Death Row artist. “I heard somebody say it’s over now. How can it be? Now you’re gonna have muthafuckas from the East who gonna just start to shoot at muthafuckas from the West. It shouldn’t have to be this way;doesn’t make no goddamn sense.”
–
Brooklyn, N.Y.
“Whatup?”
The Notorious B.I.G. sits on the front stoop of a brownstone near the corner of St. James Place and Fulton Street in Do-or-Die-Bed-Stuy. His first album, Ready to Die (which would eventually go double platinum), has been in stores for just over a week, and already every car that passes seems to be playing a different cut. Today Brooklyn; tomorrow-who knows?
As twilight slips into darkness, Big calmly recounts his life story in the same ultrarealistic terms that made his album so damn compelling. As he talks of his own criminal days-doing everything from subway robberies to selling crack to pregnant moms-his eyes begin to fire up. Not with anger, but as if he’s watching each episode unfold with the telling.
“When I say I’m Ready to Die, people may be, like, `Oh, he’s on some killing himself shit,’ ” says Biggie. “That’s not what I meant.” He pulls out a lighter, flicks it, and brings the flame up toward his lips, where a tightly rolled blunt awaits his attention.
“I meant that I was willing to go all out a hundred percent as far as the music was concerned. When I was hustlin’, I was doing that shit every day-waking up, putting drugs in my pocket, and not even thinking about the police, stickup men, or my competition. I was riskin’ my life, so that meant I was ready to die.”
Photo By: Catalina Gonzales
Even at this early stage of his career, it was already clear that Brooklyn couldn’t contain Biggie much longer. “Juicy,” one of the weaker tracks on the album, was leaping the Billboard charts with alarming speed. The cream of his dreams was within reach: fantasy houses in the country, girls in the pool. And then what?
As he talks, Biggie’s eyes suddenly widen with fear. He actually seems frightened at the thought of leaving Brooklyn.
“How real can your music be if you wake up in the morning hearing birds and crickets? I never hear birds when I wake up. Just a lot of construction work, the smell of Chinese takeout, children screaming, and everybody knocking a different track from Ready to Die as they pass down the street,” he says. “Brooklyn is the love borough. Everywhere you go, we’re already there.”
I ask if it’s true that he’s just gotten married. Biggie turns his head from the street and looks into my eyes before telling me about Faith. “When you start hustlin’, you get introduced to shit real fast,” he says. “You be gettin’ pussy real quick, because you be fuckin’ the users sometimes. I done had every kind of bitch. Young bitch, old bitch, users, mothers, grandmothers, dumb bitches-and I never, ever met no girl like my wife. She talks to me like nobody else talked to me before. When I first saw her, she was killing me with those eyes. I rolled up to her and said, You’re the type of girl I would marry. She said, `Why don’t you?’ So I was like, Fuck it, it’s on. We had only known each other eight days.”
I ask him if that wasn’t kind of soon. “She ain’t speaking to me right now,” he says with a smile, “but it’s all good.”
When we met again almost three years later, Big and Faith’s marriage wasn’t all good. They had been involved in a messy separation that got played out in the press. Tupac’s B-side “Hit ‘Em Up,” in which he called Big a “fat muthafucka” and claimed to have slept with Faith, couldn’t have helped them work things out.
Biggie clears up the misinformation in matter-of-fact tones: “People was like, `When she stopped fuckin’ with Big, she started fuckin’ with Tupac, and Big started fuckin’ with Lil’ Kim.’ That’s the summary of the Biggie Smalls/ Faith shit right there. But we wasn’t fuckin’ with each other way before the rumors popped off.
“I married her after knowing her eight days and I was happy,” he says. “That was my baby. At the same time, with us being so spontaneous, we did it backwards. Maybe she won’t admit it, but I will. We should have got to know each other and then got married . The relationship kind of dissolved, but we’re still going to be friends. I love her. We have a baby together, and we’re always gonna love our kids. Who knows? Ten years from now we might even get back together.”
I ask the baby’s name. “Christopher Jordan Wallace,” Big proudly replies. And what of his sarcastic comments on wax, like the line on “Brooklyn’s Finest,” his duet with Jaÿ-Z? “If Fay has twins, she’ll probably have two pacs. Get it? Tu…Pac’s.”
Biggie laughs deep, long, and hard. “I got to make jokes about the shit,” he says, his stomach damn near jiggling. “I can’t be the nigga running around all serious. The shit is so funny to me because nobody will ever know the truth. They’ll always believe what they want to believe. ‘Pac says he fucked her. I asked Faith, You fucked him? She said no. I can’t get to ask him about it. So am I gonna hate her for the rest of her life thinking she did something, or am I gonna be a man about the situation? If she did it, she can’t do it no more, so let’s just get on with our lives. I hold grudges but I can’t hate nobody, that’s not my nature.”
–
Born Christopher Wallace to Jamaican parents, the man who would one day call himself the Notorious B.I.G. had strikes against him from the moment he checked into this world on May 21, 1972.
His father left his mother when he was just one and a half. Other than pictures in a scrapbook, Biggie had no tender memories of him. “I didn’t know him and I don’t want to know him,” he says coldly. “Moms should have just pushed him off and not even had me if he wasn’t going to handle his business. I couldn’t even speak to him. I don’t need that cocksucker for nothing.”
So little Christopher grew up with his mother in Brooklyn and spent the first 22 years of his life on St. James Place. Working two jobs and attending night school, Voletta Wallace remained a stable presence in her son’s life. She tried her best to shield her sensitive, introspective child from the streets.
The only problem was that nobody was protecting the streets from young Wallace. Way before he hooked up with Puff Daddy, Biggie already had visions of becoming a bad boy. “I was a sneaky motherfucker, I guess,” he says with a laugh. “I was real, real bad. You know what made it worse? Motherfuckers would tell my mother that I did something, and she just wouldn’t believe them. `Not my Christopher,’ she would say.”
One of Big’s earliest interests was art; but growing up young, black, and poor, he found there was little he could do in that field that would change his everyday reality. “Back in third grade they used to say, `Take whatever talent you have and think of something you can do with it,’ ” he recalls. “I liked to draw, but what could I do with it? Maybe I could be an art dealer-nah, can’t see myself doing that. Maybe I could do commercial arts? But once I got introduced to the crack game-commercial arts? Please.”
At 13, he was schooled in the game by a member of the Junior M.A.F.I.A. clique (the street gang the rap group took their name from), and things started rolling quickly. In the space of a few weeks he went from begging his mother for ice cream money to never having less that $700 in his pocket, and all the designer gear he could imagine.
Read the Post
Why Kids Go Koo-Koo For Cocoa Puff
Why Kids Go Koo-Koo For Cocoa Puff
Why Kids Go Koo-Koo For Cocoa Puff
NY PD BLUES
Photographs By: Andrea Giacobbe
Issue: December 1997 – January 1998
It’s been said that real bad boys move in silence. And as I cruise through Harlem U.S.A. with Sean “Puff Daddy” Combs in a coal-colored van that looks as though it belongs to a team of KGB operatives, silence is the code. No one in this death-defying mobile – neither Jason the personal assistant nor the two Lou Ferrigno- necked security types-says word one.
“Common courtesy” is how Combs explains the unnerving carpool quiet. “I’m trying to run a business,” he barks, juggling tiny dueling cell phones. “I’m not trying to run no young, reckless black man-type of situation.”
At age 26, this fudgey Thurston Howell II definitely has a situation on his hands. Puff Daddy has mutated into a monster bigger than hip hop, bigger than rock n’ roll, bigger than comet-worshipping cults and Bigfoot sightings. He’s become a franchise, a brand name-a plastic-and-rubber action figure who dances like Savion Glover, golfs like Tiger Woods, flies like R. Kelly believes he can.
His Bad Boy Entertainment has delivered mucho-selling talents like the B.I.G. (5 million albums sold between 1994’s Ready to Die and the recent Life After Death) Biggies’s widow, Faith Evans (1995’s, Faith, nearly one million sold), and the vocal groups 112 (831,000) and Total (475,000). Plus, Puff co-manages Lil’ Ceasar and Lil’ Kim. Bad Boy’s worth a million Benjamins and better, bee-yotch.
His remixes for artists like Mariah Carey and Method Man have mined more platinum and gold than the San Francisco 49ers. He’s produced singles for Aretha Franklin, Boyz II Men, TLC, Lil’ Kim, and KRS-One. He owns an elaborate recording studio called Daddy’s House. He has a 10-deep beat-production team called the Hit Men. He just opened a luxe restaurant named for his four-year-old son. He plans to branch out into filmmaking. Can Bad Boy toothpaste and tampons be far behind?
Opposition from lesser hobglobins is an inevitable by-product of the game, but Puff’s got a middle-finger message for all you suckaz who don’t wanna see a young brotha make good (real good): “Can’t Nobody Hold Me Down.” The cut, from Comb’s own debut, No Way Out- a multiplatinum opus of Cristal and and concubines- took liberties with Grandmaster Flash and the Furious Five’s 1982 smash social critique “The Message,” causing hip hop purists considerable pain. But the hits kept hitting. Astounding Puff-spiced singles like Biggie’s “Mo Money, Mo Problems” and “Hypnotize,” and Puff’s own “I’ll Be Missing You” helped Bad Boy lock down the No. 1 post on Billboard’s Hot 100 chart for 22 consecutive weeks. At the end of the day, Puff’s little engine that could was responsible for roughly 60 percent of 1997’s hit pop songs. “I’ll Be Missing You” alone reached No. 1 in 15 different countries, including Belgium. For today, though, Combs is back in his old neighborhood, showing this reporter where he’s come up from.
Harlem, an island nation with its own free-trade agreements and protective tariffs, is beehive hectic. Frantic toddlers with weathered faces buzz in and out of antiquated tenement buildings. Plaque-stained ivory police officers anticipate black rage on tumultuous corners. It was on a block in Harlem that Sean’s father was shot dead in 1973. But it was also on the streets of Harlem that Sean was introduced to the sonic expression of hip hop culture.
When Combs talks about Harlem’s tough love, his mostly sunglass-shaded eyes bug out. “Parties at the Rooftop- that shit was like one of the most incredible experience ever, “he says, recalling the famed roller rink/after-hours hip hop haven. As we chat, PD’s rented enforcers scope the asphalt terrain for playa haters. “This was when crack first came out- niggas fourteen, fifteen riding around in jeeps with the tops off. If you wasn’t hustling, you wasn’t on the list. I wasn’t hustling,” Combs says this carefully, as a curvy hot baby-mother approaches and asks him to sign her Benjamin. “But I had to make sure my gear was up to par.” It was at the Rooftop that Puff the magic dance star first started to shine. “The Wop originated at the Rooftop,” he says. “You’d have niggas Wop like you never seen niggas Wop. We talkin’ about some shit that looked like a fuckin’ African dance.”
We exit Puff’s funky tank in front of building 720, where he lived with his grandmother until he was 12. Building 720 isn’t really the ghetto; it’s one of those government-subsidized settlements that sprout up perpendicular to the projects of Anytown, U.S.A. “I remember going to that store right there one time to get a pack of cigarettes for my grandmother,” says Puffy. “A kid came up to me, like, ‘Yo, can I get a dollar?’”
“I thought I was big and bad,” says Puff, who’s leaning, chest first, on a dingy green mailbox, glittery Rolex dangling from his wrist. “So I out the change in my pocket and threw up my hands.” The ruffian got Combs’s change all right. “This boy punched me in my face three or four times. I got my first lesson in life: Before I get into a fight, I gotta make sure I can win it.” Still, Puff’s thug-toddler side has final sat on the matter. “I fought back though,” he says. “I was always a fighter.”
That’s the thing with Puffy Combs: his confused pith makes him a man of multiple personalities. The cartoon character on his Bad Boy Entertainment logo- a baseball cap – wearing infant in workboots – is a fitting caricature of Comb’s own big and bad inner child. An inner child that struggles with grown-up death, grown-up deals, grown-up disorder. If you listen close enough to Puff’s rhymes, you can hear him teething on the mike.
Perched across the street from a noisy bus station ripe with exhaust fumes, Sean seems torn apart. On one hand, his icy grill says Hey, I’m being all that I can be and more, motherfuckers. But, on the other, his mug is saying, Damn. I can’t believe I’m not still living here/ How come I’m not still living here?
Money Earnin’ Mount Vernon
On our way to Mount Vernon – the upper-Bronx, upwardly Afro HOMETOWN OF Combs, Heavy D, and Pete Rock & C.L. Smooth, among others – Puff gets seven different phone calls from seven different studio sessions being worked by seven different Hit Men. For every call, he has a word of advice or, better yet, an order to be carried out. During one conversation, his mercury reached the boiling point. Fortunately for the producer concerned, the beef is squashed, and that unnerving silence fills the invincible chariot once again. Driver, bodyguard, and assistant stay mum. Obedient Dobermans are like this sometimes too.
On Puff Street in Mt. Vernon, the only slicing and dicing you’ll see come via buzzing lawnmowers. Station wagons jet by stuffed with pee-wee leaguers, while buck –wild squirrels play touch football. The getaway residence that Sean’s widowed mom worked three jobs to obtain is a modest model. There’s no house boy, no Rolls in the driveway.
Moments before we enter the house, Combs gets heated once again. “You can’t talk about my mother; you can’t talk about my son,” he says. We had been talking about a captioned photograph of his son Justin, that appeared I VIBE and provoked Comb’s reckless young black man persona. “I’m gonna hunt that bitch down,” was the telephoned threat a female VIBE staffer received from someone who identified himself as Puffy.
“I was an irate parent calling the school,” he now says of the outburst. “There was a picture of me and my son [on the “I’ll be Missing You” video set], and he was holding a pink water gun. And it said, ‘Didn’t Puffy learn yet?’ But everybody’s children play with waterguns.” Comb’s voice is officially on fire.
“In the same VIBE issue, you have two men pointing guns to each other’s heads. Hasn’t VIBE learned yet? Basically, I flipped out. And it ain’t just the black shit either. I don’t care if it’s People or Rolling Stone.” It’s not easy to reconcile this tough-guy stance with the positive-black-man pose Puff struck during this year’s VIBE Music Seminar. When asked if his plans for the 21st century included violence, Puff replied, “It’s not about no violence.” But of course, he has plenty of minions to troubleshoot for him.
The living room of chez Combs showcases a Picasso exhibit’s worth of family flicks and showbiz trophy-plaques. His mother, Janice Combs, has long, stylish fingernails and bleached-blond hair that looks natural against her even mahogany tone. She has he problems with the media as well (“They turn things around to sell papers”) and says, there’s a side to PD that’s never been seen in print. “Sean is a thinker. He’s very, very serious about what he’s doing. But Sean is a workaholic,” says Momma Combs, scowling at her only son. “Sometimes I get upset when he doesn’t get enough rest.”
Puff reclines in the living room, hushed and zoned out after working in the studio ‘til the break of dawn. But he comes to when his mother speaks of his father. “He was a street man, a hustling ma,” she says of he deceased husband. “We met at a party in the Bronx. He used to love to dance. We used to crack up on him ‘cause he used to think he was the baddest thing. When I see my son on television, it reminds me of Melvin so much.”
Before driving back to Manhattan, Puff detours toward a spot far from his hometown. I wasn’t invited out of the Puffmobile to meet Justin Dior Combs. I watched while the CEO pops played amusement park with his son on a tiny steel gate. Through the windshield I witness yet another of the many transformations Combs would make over a two-day span. Hot 97, a local power station that plays a good 45 minutes of Bad Boy material per hour, rocked me, Jason, and the two silent muscle-folk to sleep.
Show Me Some Love
Later that night, we roll to Daddy’s House, Puff’s very own factory of hits located in the heart of scenic Midtown Manhattan. At 2:30 in the a.m., Sean Combs runs back and forth between the two recording-ready rooms. He’s mixing an L.L. Cool J track in one; a Faith Evans track in the other. At one point, he disappears to work on an R. Kelly session that’s happening at a studio a few blocks away.
“Whenever I deal with an artist,” he says, “I put my ego in my pocket. I may ask R. Kelly, Would you like something to drink?” As Combs sits Captain Kirk-like behind the boards, the final seconds of the Hector “Macho” Camacho/ Oscar De La Hoya bout unravel on a screen overhead. Puff pumps the volume on the Faith tune he’s working on, “You Told Me.” It comes off like a Bad Boy score for Rocky 98. But Puff’s not in love with the vocal sound he’s getting.
Whereas most people would stop and say, “That’s okay,” mix engineer Michael Patterson says, “Puffy keeps going until it’s perfect.” Some have suggested that the Hit Men – particularly Stevie J.- are the real cut creators, while puff takes the credit. “Once you see him in a session,” counters Patterson, “and hear the comments he makes, you know tat every record that come out of here is his record.”
De La Hoya would go on to whip Camacho’s ass; Combs would retire to a lounge area, nursing an excruciating toothache. “I think people see my life as, I’m rich; I go shopping all day,” he says, faded but somehow alert. “Or that I hang around with a bunch of thugs. Or that I shoot videos all day long and ride around in fancy cars.” Not that the Bad Boy fam doesn’t dabble in Big Willie ways. “We’re blessed,” he says. “But we sacrifice a lot: not having no personal time, not having no privacy, having to constantly keep going on an on.”
Like most pop stars, Combs is well acquainted with the ever churning rumor mill: He’s been accused of attempting suicide (the unique slash-scar on his right wrist, he explains, was the result of a mishandled champagne glass), and a Web site belonging to shock-jock Wendy Williams supposedly boasted “homoerotic” Puff pics. “Don’t ask me no stupid shit like that,” says a peeved Puff Daddy. “I got too much to live for, you know? I ain’t leaving my son for nobody. And picture me being motherfucking gay. I can’t even fathom that. I don’t have nothing against nobody gay, I just ain’t one of them. Every nigga that has blown up, I’ve heard about that, from Mike Tyson to Eddie Murphy to Russell Simmons.” Right about now, PD says his focus is on internal weightlifting; he wants his character muscles to grow better, stronger. “I’m working every day to become the best person I can be, you know, instead of just being the best producer.”
Naysayers notwithstanding, he’s comfortable in his relationship with hip hop. “As a rapper, I’m hotter than a lot of niggas that call themselves rapper,” Puff says, “But I have respect for the art of rap. If you gonna judge a rapper, you really judging him by his lyrical skills. When I’m writing, I’m thinking about how the video is looking, how I’m dancing on stage, what I got on, what I’m saying in the chorus. I’m just trying to entertain you. Like –” he pauses. “I’m not thinking that I’m a dope rapper…” There are definitely people out there who agree with Puff’s self-appraisal. Believe that.
“As a black entrepreneur, he’s a good example,” says rapper Jeru the Damaja, whose song, “One Day,” from 1996’s Wrath of the Math LP, blames Puff Daddy for hip hop’s decline. “He’s said that all he wants to do is make people dance, but if the police run up in your house, and you just dancin’ what’s gonna happen? He don’t symbolize nothin’ more than the state that we in – material worship and all that.”
“I think a lot of people are hypocrites, because the biggest criticism that I hear about Sean is that he’s so commercial,” says Sister Souljah, executive director of Daddy’s House Social Programs, Inc. – the Puff-own non-profit organization that works with youth in the greater New York area. “But the bottom line,” says the high-pitched activist, “is that all the artists I know in hip hop are in it to make money.” Perhaps Kris Parker said it best: “Rebel, renegade, must get paid.”
And paid Combs has stayed. (“He’s a fucking greedy-ass businessman,” says Hit Man Nashiem. “But that’s cool; that’s why he’s my manager.”) Track the Puffster’s rise: from selling sodas and T-shirts as a knuckleheaded underclassman at Washington D.C.’s Howard University (where he showboated his footwork in front of the cafeteria and maintained a C average with wee participation) to interning at New York-based Uptown Records while attending school to turning A&R at the label – and party promoting all the while to supplement his income and build his rep. Somehow, it’s not surprising that he found a way to sell hip hop soul to billions.
Puffy’s chart-topping accomplishments have earned him top billing in the pop pantheon alongside such goodfellas as Elvis and the Beatles. How does it feel? “I feel like, Damn. These motherfuckers were phenomenons. I feel proud. I remove myself; I leave my body, and I’m, like, I’m a young black man.” Such unprecedented prosperity has given master PD an optimistic outlook for the future of Earth’s chocolate folk.
“You can’t look at thing in black and whit as much anymore,” suggests Combs, whose releases are now nestled between Jewel and Hanson albums in gated communities nationwide. “Yes, we’ll always have prejudice, but it’s definitely getting better.”
When asked if he’s really contributing a remake of “I’ll Be Missing You” to a Princess Diana tribute album – revising a dead homie’s anthem to fit a member of Great Britain’s royal family – he doesn’t say no. “The situation with Lady Diana… she was beautiful. She’s just somebody that ain’t fuck with nobody. The way she died was tragic, and I think it affected everybody.”
Puffy’s happily somber Police jack, “I’ll Be Missing You,” truly took it to that other level. In the ode to his fallen comrade Christopher, PD found a way to rock everybody’s last party. “On that song, I just let myself go, and I talk to Biggie,” he says. “I’m not performing; I’m talking to him through my dance.”
But there are those who question his sincerity. “I was very cynical in the beginning,” Janet Jackson told an industry tradesheet. “I was sittin’ back, thinking, How much pain is he really in? It seems like he’s taken his and ran with it. Part of me wondered if it was really real. But only he knows that – and God.”
It’s a bit past three in the a.m., and Combs is still soaking up Faith Evans’s previously recorded serenade through a cracked door. “Some people have not even tried to pursue their dreams,” he says, still clutching his aching jaw. “They look upon what they’re supposed to get. I go after the things that haven’t been obtained before.”
Love Fellowship Tabernacle
We didn’t leave the studio until 3:30 a.m., but I was instructed by PD to call him at 10 to arrange an evangelistic journey. By 11:30, Mr. Combs, one shield agent, and I are back in the gray leather-lined chariot with the multiple micro TV screens and the Sega Genesis video-game system welded to its ceiling spine.
Dressed in a lime green and yellow pinstripe Matsuda suit, Sean Combs pumps gospel music like it’s something off The Chronic. “You trials make you strong” chimes the testimonial hook. Atlantic Avenue’s Sunday traffic is tame; pothole are spread out like land mines in Southeast Asia. Of course, the red Pathfinder that glides up beside us at a red light is blazing “Hypnotize.” Rocking his neck, serpent style, to the B.I.G. beat, the Pathfinder kid stared at out tinted window as if he can see the young tycoon inside, as if to say, Biggie was mine too, niggas. But he can’t see Puff Combs, not unless he’s an alien, or Biggie’s guardian angel. Puff’s shades remain aimed on windshield No. 1. He hits switches and throws on a jam voiced by him that I’ve never hear before. I caught some lyrics, though “And if you kill me / Me and Big’ll be reunited.”
The day before, Puff had much to say about his friend Christopher. “Me and BI.G. was on top of the world. Imagine going for two years, dealing with this East/West shit – and that’s what you’re getting known for – that’s depressing. But we took the higher road.”
But when Tupac was murdered in Las Vegas, maintaining became difficult. “Tupac’s shit was crazy because of all the beefs…” Puffy trails off. “I was, like, Motherfuckers gonna try to associate us with that bullshit now. It’s fucked up that he passed. We didn’t get to squash all the quarrels we had.”
“Me and Big was so happy. We made a record [Life After Death] that we felt was going to bring East and West coast back together.” Then violence struck again. “I was stunned; in a total shock,” Puff says of the night Christopher Wallace was murdered in Los Angeles. “I was praying crazy. I was praying that I had got hit and I was in a coma and I was just dreaming. I was, like, I know I’m in a coma or I’m on fire.” Combs clearly misses his man. “I wish there was stuff that me and B.I.G. could have done together. I wish we would have gone on vacation more, or just he would have come over my house more. Even though we has such a personal relationship, it’s like we were always working.”
When asked about the future of Death Row Records, Combs goes limp. “I hope Death Row stays afloat. They opened doors for us.” Asked if he thinks Marion “Suge” Knight will be a different person when he gets out of jail, his response is muted. “I don’t know.”
Hezekiah Walker’s Love Fellowship Tabernacle Church in East New York, Brooklyn is packed tight. Globs of sweat cascade down the faces of the faithful as manual fans – photo of Dr. Martin Luther King Jr. on one side; ad for a local funeral home on the other – blow cooled heat. Puff sits front row and center, but no one bats an eyelash in his direction. Here’ Puffy loses out to electricity of the Grammy-winning preacher.
Walker, who looks like a distant cousin of Grand Puba’s, talks of heavenly father who wants his sheep to have money, Versace, and all the finer things. A glistening gold-painted eagle podium supports Walker’s Bible as he recites holy verse a la Chuck D. There are no “suckers” in the house, he announces at one point. Keyboards, drums, and bass guitar cut in and out, bringing the gathering to frenzied heights. Hit Man Stevie J. is here with his fiancée; EPMD’s clean-domes manager is representing for Jesus as well. Combs remains meek but attentive throughout the service. Call and response, interactive soul searching – this is a completely different experience from the Catholic altar-boy realm Sean Combs grew up in.
“After Biggie died,” says 22-year-old Stevie J., “I think Puff needed to know who God really was. Not to say that he didn’t before, but after that he put things in perspective.”
A hungry Puff Daddy order his helmsman for hire to make a postworship pit stop at Carolina Country Kitchen. Before stepping in, he fields a call from his supermanager, Benny Medina (whose clients include Will Smith, Jada Pinkett, Vivica A. Fox). “Don’t be a coward, just handle it – no running and hiding from shit,” Puff says, breaking down the day’s gospel. Then a sudden knock on his window produces respected underground rapsmith Smoother da Hustler.
“I know you hear this from a lot of niggas,” Smoothe SAYS, “but me and my brother Trigga some shit.” A politely receptive Puff-fresh-squeezed lemonade in hand- encourages them to keep in touch but indicates that we gotta keep it moving. Smoothe and Trigga flash peace signs in the foggy distance as we drive off like a single-vehicle presidential motorcade.
Puff the Magic Dragon
We breaks for Daddy’s House to check the Faith joint’s progression. After grabbing a tape of the song, Puff heads into the next room, only to find Dave Grohl of the Foo Fighters – game face on, golden Les Paul ax in tow – working on a crunch-rock remix of “It’s All About the Benjamins.” (For the record, Bad Boy has signed its first alternative rock band, Fuzz Bubble.) Puff seems just as flabbergasted as I am to see Nirvana’s ex-drummer chilling.
“I was really flattered when he called and asked me to do it,” Grohl tells me later. “I’d seen his videos on MTZ, and he seemed like this was larger-than-life pop star, this bad ass. But then he shows up to the studio in his church clothes. That fuckin’ blew me away.”
As soon as we jump into the rugged roadster, Puffy pops in the Faith tape. He head-nods to the beat, seatbeltless, one hand on the volume. Next stop is the Trump International Hotel for a wardrobe change. Puff’s suite is registered under the name Berry Gordy, founder of the Motown Records dynasty. His alias is based on serious accomplishments. Bad Boy racked up its first four No. 1 hits within a 12-month span – a Motown milestone that has stood unequaled for 33 years.
No time is lost. There’s a Euro-tour meeting to make in Benny’s room in five minutes. There are fabric swatches to approve, stage blueprints to scrutinize. Will Lil’ Kim’s sex-freak entrance – on a bed rising from beneath the stage – come off? Questions, questions. An hour later I find myself jogging to keep pace with a walk-sprinting mogul in a baseball cap. The two gold Jesus pieces around his neck jungle like cowbells in Kansas.
We’ve come to Central Park to see James Brown do his thing. Mr. Combs and his beefy hamburger helper are escorted onstage while the Godfather of Soul puts it down. JB does his signature dance with the finesse of a 19 year old, flame-red outfit rippling like old glory in the wind.
At stage left, Puff greets Rev. Al Sharpton and soul brother extraordinaire Isaac Hayes. When James Brown announces “It’s a Man’s Man’s Man’s World,” Puff stands behind a speaker and play-conducts the 15-piece band. Then he clutches a mike stand and sways to the rhythm. The audience’s eyes dart between JB and PD.
As we bid Brown adieu and exit stage left, a brown-suited Caucasian gentleman comes fumbling toward us like an anxious game show contestant. “I’m James Brown’s lawyer,” the man says, “and I was just wondering, Would you be interested in working with James?” The two men exchange business cards; Puff assured the fellow that he’s down. The original hardest working man in showbiz is sweating the new hardest working man in showbiz.
African-Americans are in love with Puff-Puff’s death-defying fortitude and system –breaking tactics: He knows how to deal with street-minded, real motherfuckers and, in the same breath, works the ivory chessboard to his advantage – hoardin’ cash money, legally, like Bill Gates and Bill Cosby.
To European American, Puff Daddy Combs is a G.I. Swartz-a-nigger Ken doll, fully equipped with real working bullets, old-time tragedy, and good-time sensibilities. He can be heard jukebox-rocking tattoo-clad, beer-bellied barflies in pubs that never entertain black faces. They want him to survive the game, but not unscathed. They don’t want him to die because they’re entertained by the roller-coaster characteristics of his blackness.
And, yeah, there are those humanoids who plain conclude that Combs’s blithe toonage is the bomb just because it is. Word is bond: Puff Daddy’s larger than white; he’s dollar-bill green.
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Don't Hate Because The Ladies Love Mase
Don’t Hate Because The Ladies Love Mase
Don't Hate Because The Ladies Love Mase
State of Mase
When it works, that’ll be the right one.
I guess it didn’t work with Brandy, huh?
Not to dump on honey—me and Brandy was cool, but she was never my girl, you know what I’m sayin?
I’ll put it this way: I might have drove down the block, maybe even backed in it a couple of times, but I ain’t never came out the car, and I ain’t never park.
What do you think is the most misunderstood part of Mase?
The thing that I feel most misunderstood about is that I can’t be more than one thing. Let me be hardcore and party and anything else. Because I am all those things at different times. I can be anything you want me to be.
But what do you want to be?
This album, a lot of people was fronting on Bad Boy. I feel like right now, nobody wanna see Puff do it again. So if I call somebody to sing on the song, it’s like, “I don’t know, I don’t know.” It wasn’t about the money. It was something, but I don’t know what it was. Everybody who asked me to get on their songs—I did it. I was on everything.
Did that discourage you or make you more determined?
You can’t live your life for everybody. You got to live your life for yourself and do whatever you can live with. With the whole Harlem World situation, that’s my family! I don’t care if they sell one record! That’s my sister, my brother, and some niggas off the street. Regardless of what they make, it’s more than they had. Who cares? I got millions for it, and whatever! And even though their debut sales weren’t all that, they ain’t fall, they just stumbled. And I caught them. Now, it’s on them to start running again. In the end, they’ll will because I’m a winner.
Do you feel like you’ve achieved happiness?
Probably a month ago, I started being happy’ cause I just started analyzing happiness. People can’t make you unhappy unless you allow them to do that. I realized that I can’t look for no one else to make me happy. Whatever I say is my law.
Mase is my city, my state. Everybody is their own state. If a nigga disrespect Mase, he disrespecting my state. As the president of my state, I can let you slide, [or] I can give a two-to-three. The State of Mase may say that you deserve a lynching. Or you might need parole. You might need two years isolation to think about it. Mase is my state. Can’t nobody disrespect my state without dealing with the consequences.
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Puff Daddy: "It Will Never Be Over"
Puff Daddy: “It Will Never Be Over”
Puff Daddy: "It Will Never Be Over"
Against All Odds
Photographs By: Albert Watson
Issue: December 1999 – January 2000
Dogged by lackluster album sales, anti-Puffy websites, and his own hot temper, Sean Combs is fighting to prove he’s still got it. Jeannine Amber gets the story behind the struggle.
There’s this scene that sometimes floats into Sean Combs’s head. It’s like a picture out of one of those old movies where a man has been wrongly accused, and the whole town has gathered to watch him get hanged. The man is up on a platform with his legs dangling in mid-air. Only instead of choking, he refuses to die. Days go by, and he’s still hanging in. The townspeople throw rocks at him, but he won’t give in. Finally, they cut him down, and this guy – Sean “Puffy Combs” himself – just walks away. “Weird shit like that,” Combs says, “sometimes goes on in my head.”
There are other variation on the theme: Like the one where Combs is dead and everyone comes to view the casket, and just as he’s about to enter the gates of heaven he comes to his sense like, “Hold up, God!” and gets out of the coffin. Or the one where there’s some 600-pound man blocking the door and Combs is getting no oxygen. “And it’s either him or me, and I don’t care if the nigga’s 1,000 pounds,” he says. “I’m gonna eat that nigga. I don’t care if I have to start chompin’ away, I’m gonna get through to the other side.”
Combs describes these visions late one night in the back of his tour bus. He’s being driven from a sound-stage in Burbank, Calif., where he’s been rehearsing for the premiere episode of BET Live From L.A., to the five-star Beverley Hills Hotel and Bungalows. He’s so agitated he’s standing up, waving his hands around and making sound effects (“Whooosh, I come back from the journey to heaven,” and “Shikaaa, I raise out of the coffin”). Then he starts to yell: “It will never,” he says, “never, never, never be over.”
In all fairness, this high-drama interlude didn’t come out of nowhere. The man’s been provoked. He just got asked, “Did you know that when your new album, Forever (Bad Boy), debuted at No. 2, behind former Mousketeer Christina Aguilera, people in the music industry went bananas, calling each other and sending crazy e-mails about how it was over. How no one gives a shit about Puffy now that Biggie’s dead. With lots of exclamation marks, like they were happy. It’s over!!!”
“Never, mutherfuckers,” he says. “Never.”
Only two years ago, in ’97, Bad Boy Entertainment CEO Combs and his roster of young artists (including the Lox, 112, Mase, and The Notorious BI.G.) dominated the No. 1 spot on Billboard’s Hot 100 singles chart for an astounding 22 weeks straight. “Mo Money Mo Problems,” “I’ll Be Missing You” pounded clubs, bounced Jeeps, and spun relentlessly on MTV. That year, Bad boy sold $200 million worth of records.
Combs’s greatest skill has always been as a discoverer of talent, a producer of albums, and a businessman extraordinaire. He parlayed his love of music into a multimillion-dollar enterprise: There’s Justin’s, a chain of soul-food restaurants with locations in New York City and Atlanta, and tentative plans for Chicago and Miami; Sean Jean, his clothing line (which grossed $32 million since its launch in February ’99); Notorious, his glossy lifestyle magazine; and a new production company, Bad Boy TV and Films, currently developing the comedy King Suckerman with Miramax.
But the success of Combs’s empire depends, at least in part, on the power of “Puffy” – the name, the logo, the celebrity. The question is whether Combs’s rapacious efforts to turn himself into a hip hop star will lead to his undoing. A businessman’s achievement is measured by the money he makes. But a star’s success rests on his ability to capture the imagination of his fans and prove he’s worthy way – with a mediocre album or a cocky attitude – and they’ll knock you off your pedestal in a hot second.
By the third week of its release, Forever had fallen to No. 13 on the Billboard 200 and still hadn’t gone gold. Given that his first album, No Way Out (Bad Boy, 1997) sold more than 560,000n units in its first week and went on to become seven-times platinum, the press had a field day. There were scores of bad reviews, with many sounding the death knell: “Puff, the Magic’s Draggin’,” declared the New York Post.
In addition, Bad Boy Records suffered more than a 75 percent drop in revenue in 1998, grossing barely $35 mil. And the talent that helped turn the label into a hit factory is slowly slipping away. Combs’s ace, Biggie, is dead; Mase went to follow God; and the Lox hooked up with Interscope Record’s Ruff Ryders imprint in August after complaining on New York’s Hot 97 FM that Combs wasn’t paying them their due.
To top everything off, Combs is still trying to get out from under the cloud of bad PR stemming from his much-publicized attack on Interscope exec Steve Stout in April. (Following the attack, Combs was charged with second-degree assault, and faced a potential seven-year sentence. In August, amid rumors that he’d paid Stoute a six-figure settlement, Combs pleaded guilty to a violation and was ordered to attend a one-day anger-management course.)
Some people are so disgusted by what one hip hop fans refers to as Combs’s “materialistic, money-hungry, wannabe-rapper” ways that they’ve gone to the trouble of launching their own anti-Puffy websites. Under cyber-headlines like “I Hate Puff Daddy,” “Why Puffy Sucks,” and “Please Puff Daddy, Ruin This Song Too,” music fans complain about everything from his lack of skills to his excessive sampling to his over-the-top arrogance. One site is so vicious it features an image of Combs having his brains blown out. Things are getting ugly.
It’s humid and hot and excruciatingly early and everyone is waiting patiently for Combs at Miami International Airport. Not in the spot where the regular planes land, but on a separate stretch of asphalt behind a chain-link fence where the private jets touch down. On the tarmac, half a dozen ground crew in white coveralls pace back and forth. Two khaki-suited men – Combs’s manager Steve Lucas and Bad Boy’s VP of Marketing Ron Gillyard – sit in the back of the black Town Car calling air-traffic control, trying to track down the plane. Over to the side, four police escorts in black knee-length boots and shiny white helmets idle their bikes. They’ve been arranged for by the city to weave in and out of traffic, blazing their blue flashing lights, clearing a path for Combs’s motorcade, because, as Gillyard says with a laugh, “He’s fly like that.”
The plane finally arrives at 7:42 a.m., more than an hour past schedule. It’s white, with “PD” emblazoned on the tail and “Puff Daddy Forever” across the body. Half a dozen duffel bags, a black Prada garment bag, a Gucci shopping bag, a stroller, and a car seat are loaded into the back of a black Navigator with tinted windows. Combs, his security man, his 2-year-old son, Christian, the boy’s nanny, his much-hyped new artist, Shyne, and a blond stewardess in an impossibly short gray skirt and matching jacket emerge silently from the plane. Combs says what’s up to his manager, kisses a reporter on the cheek, confers quietly with his security, and gets into the Navigator.
For the rest of the day, Combs is motorcaded from radio stations to interview to a press conference on the 55th floor of the First Union Financial Center, in downtown Miami, which boasts a spectacular view of the Atlantic Ocean, Neisem Kasdin, the mayor of Miami Beach, declares August 30 Sean “Puffy” Combs Day and gives Combs a key to the city, saying “I’ve met Clinton, but no on has attracted more attention than you!” Combs holds up his foot-long gold-colored key. “Wow,” he says, looking genuinely pleased. “I never got one of these before.”
In the afternoon, there’s a record signing at Spec’s on Collins Avenue and Fifth Street in Miami Beach. The line extends halfway down the block. One teenager in braces and a ponytail is so bugged out she’s sputtering, her hand trembling in front of her face. Meeting Puffy is, like, her dream. Combs puts his arm around her, smiles stiffly, and gives the cameras a “No. 1” sign with his index finger.
If Combs is in a slump, you’d never know it by the way he rolls: all-the-way extra celebrity, pop-star dignitary, with entourages and motorcades and barbers flown in to cut his hair just so. When his publicity tour is over he throws a soiree at his Hamptons home overlooking the ocean. Rich and totally random white folks like Chevy Chase, Christie Brinkley, and David Copperfield come to party with a live salsa band (¡Queremos a Puff’s Daddy!) and hot cha-cha dancers in little white dresses with halos and angel wings strapped to their backs. Combs works the crowd, flashing his platinum pendants and his sparkling watch, and don’t forget the two Bentleys in the garage.
“Before he even dropped Forever, I saw the wall of hate building up,” says one industry insider who didn’t want to be named because he has “business dealings” with Combs. “You can’t really smack people in the face with wealth that they gave you. Take Will Smith: He has as much money as Puffy, but you don’t see him with mad ice, a ridiculous amount of ice. You don’t see it. But Puffy is really overdoing it with the jewelry these days. You have to have a certain degree of humility. Like, remember when you step into your limo or your Benz that the fan who put you there is getting on the train with a MetroCard.”
For Combs, it’s not just the tinted windows of his ride that separate him from his fans. He’s deeply ensconced in a crew that shield him from the real world. This constantly shifting group of men, several of whom insist that “Puff’s like a brother to me,” do the practical: get his stuff, run his errands, handle his business, keep him company. And they provide a tacit endorsement that everything he does is A-OK. When he flips out and starts screaming at one, “You must be a stupid, stupid mutherfucker,” because the guy knocked on the door while Combs is doing an interview, no one said a word. So who’s going to step to hi about him wearing too much jewelry?
Then again, why should they? “Puffy owes no one any apologies for his success,” says MC Hammer, whose own $33 million career self-destructed in the early 90s mid criticism that he was crossing over and selling out. “Anybody who makes revenue from the culture of hip hop has benefited from the presence of Puff Daddy over the past five years We’re talking about everything from FUBU to Tommy Hilfiger to soundtracks to everything else. And as far as humility goes, Puffy knows that, as a man, he would want to work on that. But knowing the type of man he is, he probably is working on that.”
When he was little, “back in the olden days,” as he puts it, Combs lived in Harlem. His father was a hustler who was killed when Combs was three. His mother was an ex-model and part-time kindergarten teacher. Sometimes he hung out with a few friends. They called themselves the 7-Up Crew (on account of there were seven of them). But mostly he was a loner.
In the summers his mother would pack him up and send him to Pennsylvania Dutch COUNTRY, COURTESY OF The Fresh air Fund. (The nonprofit program enable low-income New York kids to have a summer break in the country with volunteer host families.) Combs was hooked up with some Amish folks who had no electricity, no TV, no cars. They had horses and wagons. Think Harrison Ford in Witness. “That’s where I learned a lot of my focus,” says Combs. Plus, he says, “I seen shit.”
One day, 8-year-old Combs got it in his head to jump on the back of a red rocket wagon and take a spin. The wagon was perched on the top of a hill. At the bottom was an electric fence that kept the livestock from wandering away. (As for why the no-electricity-having Amish had an electric fence, he says it must have belonged to the neighbors.) So Combs jumps on the wagon and it starts careening down the hill, headed right for the fence. “I was going straight toward it, full speed. I’m talking, like, 50 miles an hour,” he says. Then suddenly the wagon just stopped. “Right before it, like, decapitated me,” says Combs. “So I seen a miracle happen.”
Memorable as the experience was, it wasn’t enough to keep him from returning to his non-Amish TV-watching ways back in New York. He was especially fond of a soft-core porn show on cable access called Midnight Blue. “I used to watch it and jerk off when I was 11,” he says. This came in handy when he lost his virginity at the ripe age of 12. “I was acting just like porn stars act. I was smacking that ass. I was smackin’ the girls’ ass! I didn’t do it on my own, she wanted me to smack that ass. I flipped her over because I saw it on the movie and then she told me to do it again, so, you know.”
Later, when Combs got to Mount St. Michael Academy, an all-boys Catholic School in Mount Vernon, he learned a few new tricks. “You have to write this so it comes out right,” he says, lounging in a booth at the front of his tour bus. He’s dressed in a plush Sean John track-suit number. “I discovered that being natural was the best way to win a girl over. Like, you watchin’ movies, you listenin’ to older brothers saying things like, ‘Hey, ma, lemme holla at you for a second,’ you think that’s the way to get a girl. But I realized in high school, girls liked me if I was a friend to them. That’s when they would just start laughing, just by me being my natural persona. I was like, Oh! The light bulb went off. Ding!”
After high school, Combs spent a little more than a year at Howard University and became known for throwing huge parties on the weekends. In 1991, he and rapper, Heavy D organized a charity basketball game at New York’s City College where nine people were trampled to death in a rush to get inside. (In 1998, Combs paid $750,000 to the families of the victims as part of a settlement ordered by New York State’s Court of Claims.)
At the time of the City College disaster, Combs was interning at Uptown Records, where Andre Harrell was the president. As the now legendary story goes: Combs hustled and got promoted to VP of A&R within a year. He brought future platinum artists Mary J. Blige and Jodeci to the label, dressed them in Timbs and suits and leather and silk and gold and diamonds, creating the prototype for “ghetto fabulous.”
“Puff was my young warrior,” says Harrell. “I could send him into the jungle and he’s bring back the lion’s head every time.”
Eventually though, the warrior, the chief, and MCA – the company they worked for – began to have issues. “We had this meeting and Puff told the general manager, ‘I will never listen to you. I work for Dre. I don’t give a fuck about you.’” So in 1993, Harrell cut Combs loose. Combs was 23 years old.
The following year, Puffy began doing business with music mogul Clive Davis, the head of Arista Records and the man who discovered Janis Joplin, Whitney Houston, Bruce Springsteen, and Aerosmith. Soon after, Davis signed up Combs’s Bad Boy Records and, according to Forbes magazine, gave the young mogul $10 million and 50 percent ownership stake in the label. Combs retains the right to but back his masters and Arista’s 50 percent in the year 2003. Presumably buoyed by the phenomenal dollars Bad Boy generated in ’97, Davis gave Combs a $55 million advance in 1998 against future Bad Boy Records earnings.
Given Forever’s relatively modest sales, it’s fair to wonder how soon Davis will recoup his investment. For now, he doesn’t seem concerned. “The picture won’t really be clear until next spring,” he says. “Look at Whitney Houston, she’s been on the charts for over 40 weeks.” Though Houston’s album, My Love Is Your Love (Arista, 1998) didn’t hit big out the box, it recently passed the double-platinum mark.
“Anytime an artist has a huge first album, there are always doubting Thomases in the world as to whether or not they can repeat that,” says Davis. “I think it’s easy to mark Puffy, to underestimate his staying power.”
Here’s what happened in hip hop,” says Andre Harrell, who’s sitting in a black Benz in a parking lot behind the soundstage of BET’s Live From L.A. “The concept of ‘ghetto fabulous’ was more of a street kid’s dream of getting the riches, and getting the pretty girl. But then one of the ghetto-fabulous stars really became fabulous,” says Harrell, who Combs hired in October 1998 to be the president of Bad Boy Records. “Puff really is successful. He really dates a movie star. He really does all those things that people dream about. And once all those things are achieved, it’s no longer a dream we can all share in. So a lot of people were left out.”
The way Harrell explains it, Combs’s real dilemma is that he has simply achieve too much, and his success is triggering resentment – that particularly potent mix of envy and resentment that philosopher Friedrich Nietzsche said cause have-nots to vilify the successful. Think player hating. By extension, Master P, who is worth $361 million – significantly more than Combs – should inspire homicidal rage among his fans. Only he doesn’t. That’s because Master P, with his gold fronts and unapologetic ghettoism, fits so much more neatly into people’s idea of what a rapper should be. No matter how much money P has made off whitey, you just know he’s not gonna invite David Copperfield to his parties. Puffy, on the other hand, seems to love him some photo ops with Jerry Seinfeld and Donald Trump.
When Biggie was alive, Combs could be as flashy as he liked. The former Brooklyn crack dealer acted as a giant counterbalance – the ghetto to Combs’s fabulous. “When Biggie died, Puffy lost a major source of his authenticity,” says Michael Eric Dyson, a professor of African-American studies at DePaul University in Chicago. “Biggie was, in one sense, his image bodyguard. So, predictably, when Biggie dies, Puffy gets rhetorically assassinated.”
At the same time, the bigger Combs has gotten, the more complicated his fans’ expectations have become. “Hip hop has expanded so that now 80 percent of the audience is nonblack,” says Russell Simmons, founder and chairman of Def Jam Records. “And when those kids are exploring this new world, they need a tour guide. Puffy is their ambassador. Not that he isn’t ‘ghetto,’ but his scope is broader than that. Some people in the core hip hop community resent us speaking to a larger audience. They feel it is an abandonment of them.”
And if the community feels like they are being abandoned, its resentment can only be inflamed by Combs’s relentless displays of wealth and his new embittered attitude. Two years ago, Bad Boy videos were all about having fun: Puff jumping for joy on the links! Puff hoofing it up with tap star Savion Glover! And Puff, in that shiny spacesuit, floating in silver orb, Mase by his side, Biggie smiling down on them. Now he’s all hostile, talking about, “You can hate me now” and “I’m public enemy No. 1” Bragging about you Bentley, babes, and Benjamins, and then acting like you’re torture by it all, is not particularly endearing.
“I haven’t been the humblest muthafucka at times,” says Combs, his hands clasped in front of him. He’s got a little shock of gray hair on the right side of his head., just left of his temple. He says her doesn’t dye it. “I would dance in the end zone on your ass, and sometimes that right there would inflict certain emotions. But that’s who I am.”
It’s 2 a.m., and Combs is still riding in the tour bus. There were some stops to make after the BET Live rehearsal. He went to look at a cut of his “Satisfy You” video and then spent half an hour making sure that the editor guy got the too ashy-brown skin tone in one shot to mat the just-right mahogany tone in another. Then he stopped off at a liquor store for some provisions.
His girl, actress/singer Jennifer Lopez, obviously exhausted, is laid out on a sofa, the top of her head poking out from under the brown blanket she’s cocooned in. HBO’s series Real Sex is on the tube: Six naked white people and one confused sister rolling in a big pile of mud flashes across the screen. “I cannot be quiet and passive,” Combs says. “I’m sorry.” He shrugs. Reluctantly he talks about what it feels like to have people put up websites celebrating how much he sucks, and worse. He says all the contradictory, illuminating, slightly defensive things anyone might say: It hurts; he doesn’t care; he pities those people; don’t they have better things to do with their time; and of course he has feelings. And fuck them.
Then he says: “It enters your mind, about it breaking you. It crosses your mind sometimes, like I’m tired of this shit. But that’s the way America is. They gonna put you through living hell. We put Vanessa Williams through hell. They broke her ass. She was never the same. They tried that shit with Madonna and she said, ‘Fuck it. I’ma get all-the-way nigga. I’ma make a porno. I’ma eat some pussy.’” He pauses. “So you know, at the end of the day we’ll just see who’s still here.”
He gets up then, walks over to the fridge and takes out bottle of Alizé, Malibu Rum, and Belvedere Vodka to mix himself a drink. He turns his back to the reporter. “Are you done now?” he asks, clearly frustrated. One of the bottle slips from his hand and goes crashing to the floor.
Snoop Dogg, who has had his share of career ups and down, sighs and shakes his head when he talks about Combs. “That’s what the black community is built on – bring people up and bring them down. It’s sad. It’s terrible. I’ve seen that situation before when I’ve been on top of the world, and then I’ll put out an album that people didn’t feel was as hot as the other one and they labeled me a fall-off. That’s a bad feeling,” Snoop says. “[Puffy’s] success happened so fast that he didn’t get the chance to learn or grow or to understand. So now it gives him a chance to get everything in proper perspective. Keep you head up, Puff. Fuck the haters.”
The next day is the taping for BET Live From L.A. There’s a crowd of 100 or so kids gathered in front a small stage at the back of the lot. Some of them have been waiting for hours to watch Combs perform. Michael Colyar, a comedian in shiny alligator shoes and a brown five-button suit, warms up the crowd. “We’re about to bring on the coldest artist in the world,” he says, “The man of the millennium!”
Then Combs comes on. He’s got dancers in short-shorts, bikini tops, and long hair extensions. He’s got three back up singers and a live band led by Mario Winans (who produced much of Forever) on percussion. And he’s got pyrotechnics galore. Canons, airbursts, fireballs, flame projectors, and plenty of blue and white sparkly things. The set opens with the swelling operatic intro to rock group Queen’s “Flash’s Theme” and segues into “It’s All About the Benjamins” then “Mo Money, Mo Problems” and “P.E. 2000.” It’s a medley of hits, and every four beats a set of firecrackers blows up and a string of lights explodes. Flecks of white ash rain on the audience. One kid turns to another and shakes her head. “This is ridiculous,” she says, and she doesn’t mean in a good way. Some kids cover their ears against the sound of the explosions.
But no one in Combs’s camp appears to notice. Their boy is onstage doing his thing! And that’s all that seems to matter. He’s still here, he’s still swingin’, he’s still trying to prove, like the lyric says, Can’t nobody hold him down. Harrell, standing in the back of the crowd, does a little jig. “It ain’t over,” he says, grinning “It’s definitely not over.”
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Sex Kitten: Lil' Kim Is Ready To Roar
Sex Kitten: Lil’ Kim Is Ready To Roar
Sex Kitten: Lil' Kim Is Ready To Roar
BLOWIN’ UP
Photographs By: David LaChapelle
Issue: June-July 2000
Everyone’s got their eyes on Lil’ Kim, from her fashionista friends to her ghetto constituents. But what they don’t see is the soft center beneath her hard-core raunch. Robert Marriott explores the Queen Bee’s resilient soul.
Consider Kimberly Denise Jones, the exalted nasty girl turned glamour baby, sitting quietly in Daddy’s house, Sean “Puffy” Comb’s slick mid-Manhattan recording studio, sporting a shoulder-length platinum-blond ponytail and eyebrows dyed to match, sitting cross-legged in her favorite designer jeans decorated with ostrich feathers. The 4-foot-11 Kim gets up to kiss Puffy’s mother, Janice Combs, goodbye, “Thank you, Mama, for coming to see,” she says in her sweetest little-girl voice, blinking her lashes, smiling ear-to-ear. She’s ready to enter the booth and lay down vocals for a track on her upcoming sophomore album.
A lurching, uneven beat engulfs the studio. Lil’ Kim, now in character, is rapping in the prototypical raunchy style she has become infamous for. “Just lay me on this bed and give me some head/ Got the camcorder laying on the drawer where he can’t see / Can’t wait to show my girls he cucked…”
Lil’ Kim’s mythology is about pussy, really: the power, pleasure, and politics of it, the murky mixture of emotions and commerce that sex has become in popular culture. Like a priestess out of some ancient matriarchy, she makes songs that deify, demand we respect, revere, and glorify it.
She is, perhaps, the greatest public purveyor of the female hustle this side of Madonna, parlaying ghetto pain, pomp, and circumstances into mainstream fame and fortune.
Kim’s reality, on the other hand, is about love. It is her true currency. She trades in love the way Mary J. Blige trades in survival, Lauryn Hill in consciousness, and Missy Elliott in invention. The entirety of her appeal has much to do with the fact that love – carnal, familial, self-destructive, or spiritual – is the root of who Kim is. Pussy is just the most marketable aspect of it. Kim gives and craves love equally; her devotees range from luxury-tank-pushing street niggas who lust for her to transvestites whose masquerades she inspires to the silent legions of dispossess women – stripped, ho’ing, and hustling – to whom she has given an urgent, uncensored voice.
Her capacity to calculate what you want her to be and then become it – a skill she honed in the streets of Brooklyn, N.Y. – makes her damn near interactive. Raunchy, vulnerable, demure. Mae West. Bessie Smith. Lady Godiva. Blue-eyed Barbarella, aqua-haired ghetto mermaid – she’s the virtual black girl staring at you from billboards and magazine covers in a dazzling array of guises.
But as her stature as pop and fashion icon grows, as her hair and eyes take on new colors, the raw streets survivalist she once signified must now be perceived through shiny layers of artifice. At times, it’s difficult to determine whether she’s the hustler (subversive manipulator) or hustled (sacrificial black girl, complicit in her exploitation). It’s precisely her ability to thrive within this web of cultural dilemmas that makes her one of the last truly charismatic figures left in the aging machinery of hip hop.
Kim’s charisma is the result of her lifelong struggle with love.
Flash back to the dawning age of hip hop, 1980. Imagine 6-year-old Kimberly Jones in her mama’s bedroom playing with a black Barbie – one of a large, multicultural collection of dolls and accessories – in her parents’ Bedford-Stuyvesant, Brooklyn apartment. She’s covered in her mother’s makeup, leafing through fashion magazine. She cuts out the model’s eyes and lips. Standing in front of a mirror, she places their eyes against her eyes, their lips against her lips. It begins there. Kimberly Jones discovers Lil’ Kim.
Later Kim’s cousin watches her dancing around the apartment and belting out radio tunes. “Kim is gonna be something,” she predicts. Gifted at sports, Kimberly wins medals at the Colgate Women’s Games competitions while attending the Queen of All Saints Catholic School in Fort Greene, Brooklyn. Her mother, Ruby Jones, then a fashion-conscious department-store clerk, remembers Kim running with her cousins and brother, the only girl among all the little boys: “She was always determined. I never worried about leaving her. I knew she could take care of herself.”
Her father was a man with a penchant for Member only jackets and Marc Buchanan leathers. He was a provider and a disciplinarian. “He was so sweet when I was a baby. I would jump into his arms when he would come home,” Kim recalls about the man she rarely speaks with now.
Divorce tears the family apart. Kim and her older brother must fend for themselves emotionally. Ruby Jones: “I wasn’t financially ready but I had to choose between leaving and my sanity.” Ruby slides into transient life: living out of her car, from couch to couch, Kim in tow. They stay with a friend in New Rochelle, N.Y., where Kim attends Jefferson Elementary School, one of the few black children in a class of whites. Kim: “That’s when I realized there was still prejudiced people. But I didn’t hold a grudge. I did well, though, and they wanted me to stay, but I left after a year.”
Shortly thereafter, her father wins custody of Kim. Blaming herself and struggling with her self-esteem, Ruby falls in with a bad crowd, losing herself in the smoky music of Marvin Gaye and Gladys Knight. Kim returns to her father’s house angry and regularly talks to herself. “I would tell myself stories. It would make me feel better. He thought I was crazy. I knew I wasn’t crazy.”
There is heavy tension. During one argument, Kim’s father calls her a bitch. The word cuts her to the core.
Flashing police lights dance across the windows. Kim’s father sits bleeding, looking a the stranger his daughter has become. They had been fighting. Amid the tussling, she picks up a pair of scissor and stabs him in the shoulder. Kim: “The police were there and said, ‘Well, what do you want to do with her? We can put her in a home.’ And, honestly, I just wanted to be away from him so I said, ‘I wanna go.’ He looked really sad, like he wanted to cry. He turned to them and said, ‘No, no, I’ll handle it.’”
Kim’s father and his new wife take her to a therapist. Kim senses a racist tinge to the white therapist’s questioning. “I said, ‘You know what, lady? I don’t like you.’” When her father chides her, she curses him. “Some people might think that was fucked up of me, but I didn’t know how else to let my father know that I wasn’t a stupid girl,” she says.
It’s the late ‘80s. Some older girls take Kim out. Kim is thinking it’s a kid’s birthday party; instead, she finds herself at Manhattan’s Latin Quarter nightclub. Underage but welcomed by the older hustlers, she sees cats dressed in thick gold ropes and custom-tailored Louis Vuitton – and Gucci-style leather made at Dapper Dan’s, the infamous Harlem clothier of mike Tyson and young capitalists growing rich from the crack trade. Kim and the older girls roll with big-money players, cats who push Roll-Royces and hang out at after-hours spots where the glamorous niggas showed out.
Kim runs away from home to live with her Panamanian boyfriend. She continued to talk to herself. “I still feel that voice inside to this day,” she says. “I think that was God speaking to me, but I wasn’t listening. I was wild, doing what felt I had to do.”
Kim’s lessons in hustling begin. “I always had a man to take care of me,” she remembers. “Sometimes, if I though I could get some more out of a guy, I’d sleep with him. And I got kinda caught in that mentality.” She lives from boyfriend to boyfriend, learning hard lessons, getting betrayed.
Imagine Kim, black-haired, brown-eyed, flat-chested, chocolate, walking down Brooklyn’s Fulton Street on her way home from her job as a clerk at Bloomingdale’s in Manhattan. She meets the man who would change not just her hustle but her entire life. Sitting on a garbage can in front of a liquor store on St. James Place, a young Christopher “B.I.G.” Wallace strikes up a conversation with her. Kim: “We were just there talking. He was not the kinda guy I was used to talking to. I would deal with niggas with money. But her had this confidence about him. Later, he got me to rhyme for him. After I rhymed, he said, ‘I’m fucking with you, Ma. We gonna make some money.’”
Kim finds a father figure in The Notorious B.I.G. “It was everything I wanted in a relationship,” she says. “Biggie gave me his keys, and I remember thinking he wasn’t doing this for other broads.” She sleeps with him on his twin bed in a tiny corner room, on his mother’s apartment. “We would lie together talking about what we was gonna do the next day.”
By ’95, the articulation of Biggie’s plans for Kim is clear. Big and Lance “Un Rivera.” A former drug dealer turned music executive, form Kim’s first group, Junior M.A.F.I.A., and release their gold-selling album Conspiracy on Undeas Recording/Atlantic Records. Her performances on the platinum smash “Gettin’ Money” and gold hit “Player’s Anthem” create enough buzz to motivate Un and Big to start working on her solo album.
They begin recording her seminal debut, Hard Core. “Kim grew up in the studio,” says Un. “It’s like she took all the bricks, all the heartache, all the pain and used them as stepping stones. We started getting real good records.”
They shoot a promotional poster of Lil’ Kim with her legs akimbo, displaying the outline of her punanny through animal-print panties. The image provides the first glimpse of her specific band of alchemy. Prey playing predator, doe-eyed lamb dressed in a wolf’s lacy get-up. She’s an empowered sexual vixen wielding the mysterious power of the pussy like a weapon.
But her struggles with love continue. She watches Biggie marry Faith Evans. “I was so hurt,” says Kim. Un: “I used to take care of her. I used to always tell her, ‘Yo, whatever you do, don’t give Big no pussy.’ She never understood why. Because Big had a mentality, in terms of control, that was powerful over women. I used to tell her, ‘Mentally, he will destroy you.’ And he did. Once upon a time, she was on the edge. If niggas wasn’t there to pull her back…”
“I never brought another man around Biggies,” says Kim. “I never felt the need to fuck with another man. Even though Biggie may have been doing things on his own, I felt like if I showed real love, one day I’d win my prize.”
Today, Kim is tormented each day by Biggie’s memory. “When he did, it was like the record skipped,” she says. “God shook me to let me know what he gave me.” The title of the upcoming release, The Notorious KIM, is her attempt to create a symbiotic mythology with her mentor. She plays Isis to his Osiris. The queen rising from his ashes. “I just want him to know that I loved him.”
Now Kim shoulders the burden of Biggie’s musical legacy. “It’s been on me for the last three years,” she says of her obligation to the Junior M.A.F.I.A. family. She shares her Englewood, N.J., home with the M.A.F.I.A. crew Lil’ Cease, Damion “D-Roc” Butler, Gutta, and Larce Banger.
Kim and Un (who last year was stabbed in an incident allegedly involving Jay-Z) no longer speak, although she remains contractually obligated to Undeas/Atlantic for more albums. “[The split with Un] was a little bit of everything,” explains one of Kim’s managers, Hillary Weston. “After Big died, [Un] didn’t stay true. Un had his priorities, and he gave [Junior M.A.F.I.A.] a shitty deal. But it wasn’t just the business thing. Un really hurt her.”
The decision to push back her album’s release date, the favor Kim did for “ya’ll hoes,” was the result of the contractual chaos left in the wake of Biggie’s death, a boycott against Atlantic Records because of its lack of marketing support for Lil’ Cease’s 1999 solo album, The Wonderful World of Cease a Leo (the first project on Queen Bee Records), and a series of mishaps that culminated in bootleggers getting hold of seven of her songs.
Back at Daddy’s House, Kim’s newly completed “Suck My D!#k,” a transgressive response to male catcalling, bangs up the studio. Meanwhile, Cease and Gutta are on a roll, cracking back-to-back jokes about the size of a Bad Boy employee’s head as Terror Squad producer Rated R looks on. Kim laughs, momentarily relieve of the intense pressure she’s under. “We’re like a family now,” she says. “I’m like the mother. D-Roc is like the father, Hillary is the aunt, Gutta is like the uncle, the M.A.F.I.A. ARE like the children, and Puffy’s like that uncle who ain’t shit but we love his stank ass.” With Big gone and Un out of the picture, Puffy is the project’s surrogate executive. He’s trying to push Kim to finish.
“Kim is a true artist,” says Puffy. “[The reason why the album’s so late] is because sometimes she’ll go on a dry spell for three months. She’s a perfectionist. Sometimes she’s lazy, and I have to crack that whip.” Kim smiles and says, “I do be lazy. I can’t front. But you know what it is? I’m a dreamer.”
“Suck My D!#k” sounds like a sequel to he cameo on Mobb Deep’s “Quiet Storm.” Prodigy of Mobb Deep confides in Rated T after hearing the track: “You keeping my girl in the streets where she belongs.”
But Kim is no longer just in the streets. She is fah-bulous now, a darling of the fashion elite, a card-carrying member of the ghettorati. Donatella Versace, Giorgio Armani, and Andre Leon Talley are among her friends and associates. Prodigy’s concern – that hip hop’s raw bitch will be lost to that illusory world of glitz- is one that hangs over everything about Kim right now. “All I can do is remain myself. There’s two sides to me, and I can get ghetto red and let a nigga have it or let a girl have it. But I can also be civilized enough to deal with people who are fabulous.”
Kim knows what works and for whom. The ritzy Midtown eatery Mr. Chow. It’s one of those events: The steaming plates of lobster, the clinking of champagne glasses, the murmur of aimless banter. The heavy-lidded beautiful people throwing their heads back in forced laughter. Missy, Maxwell, and Puffy await the guests of honor; M.A.C. spokeswomen Mary J. Blige and Lil’ Kim. Above the crowd hangs an oversize, heavily air-brushed poster of the two divas drape in gold, surrounded by several near-naked male models painted with kisses. The image is an ad for M.A.C.’s new lipstick, Viva Glam II (the proceeds of it’s sale are donated to people living with aids). Similar models are hired to stand outside. Mr. Chow and they shiver in the February air as they wait to escort Lil’ Kim into a mob of international paparazzi. Kim enters wearing a Misa Hylton-Brim custom-made minidress, her blond flip falling just past her shoulders, and steps with a dramatic pause onto the red carpet. Lil’ Kim is on her game, and the gather eat it up. Surrounded by bodyguards and onlookers and photographers and handlers, she is ushered into the restaurant and presented to the president of M.A.C. Cosmetics, John Demsey, a distinguished-looking man. She offers her hand. He grips her fist, soul-brother-like. The Cosmetics King and the Queen Bee exchange wide smiles in the flashes of the light, the dollar signs glistening in their eyes.
In the treacherous world of glamour, where the rules change and racism is in the details, Kim’s blond wigs and nose contouring give stylists, photographers, and editors permission to eras race from her equation. It is the unspoken price of entry. Vanity Fair photographer Annie Leibovitz says of the portrait of Kim that she included in her and Susan Sontag’s collection Women: “Sociologically, [this picture of Lil’ Kim] is really fascinating because she is not only dressing up to be a woman, but she’s dressing up to be a white woman, with that blond wig.”
“We like to give people something to hold on to and then move on,” counters Kim. “I think I’m beautiful because of my heart. But, like Halle Berry, Salli Richardson, Stacey dash, Jada Pinkett Smith? I used to wish I looked like them motherfuckers!”
But smoothing the jagged edges of her race and class is not the only adjustment made for fashion, and Kim is not immune to the les-tan-subtle suggestions. In a vanity industry, her breasts, or lack thereof, quickly became an issue. “Hector Extravaganza, the fur designer, was saying on me, ‘Girl, you be rocking them pictures, but how the hell you gonna be modeling with no fucking titties! You are so fucking flat-chested!’” Kim reflects, “I laughed, but then I went home and thought about it. I went to the best, most expensive doctor available, but that was the most pain I ever felt in my life.”
It’s nighttime in the heart of Bed-Stuy. March 9, 2000, three years to the day Big was gunned down in Los Angeles. There’s a commotion on St. James Place between Gates Avenue and Fulton Street, his old neighborhood. Junior M.A.F.I.A. are shooting the video for “Biggie,” their tribute song on multiplatinum posthumous album, Born Again. The block is lit up in a surreal ix of orange and blue. Expeditions and Navigators and black Benzes fill the block. A sizeable gathering of Brooklynites come out: plaited, dyed, friend, and dreaded. Inside a trailer, Kim and crew sit in the dark hugging up Biggie’s daughter, T’yanna, and quietly reeling from a recent betrayal by someone Kim considered a close friend. Betrayal, the counterpoint to love, has also been a theme in her life. She smiles through her pain and anger. “I hurt real hard, you know When I was young, I’d take it there. You get stabbed. You get shot. I didn’t give a fuck,” she says, the frustration rising in her voice. “But I got to think about my actions now. I got kids who depend on me. I got my family depending on me. I got God depending on me.”
Outside children and acquaintances crowd around the darkened trailer, hoping for a glimpse of the starlet. Wearing a tight white T-shirt with tiny rips at the chest, aquamarine Versace boots to go with her custom-made wig of the same color, and skintight shorts with dangling straps, Kim descends into the anxious crowd. Klieg lights swing wildly. Little girls squeal her name and beg for a hug. Kim is lifted to her pedestal atop a gleaming white Cadillac Escalade. Biggie’s voice rises up from stereo speakers, booming and echoing down the block. Kim gyrates, twists, and pops, opening her legs and bouncing in an intricate pantomime. Tonight, she is the queen of all lost girls, looking ghetto angelic, resurrecting her king. Once the shot is wrapped, the lights go down and security surrounds her whisking he into a white Navigator.
Consider Kimberly Jones, survivalist turned surrogate mother, babysitting D-Roc’s son, little Damion. Happy to be home, not working for once. “In this world, money is power, but if I was in the land of paradise, love would be power to me. But in this world, you can’t get nothing off of love,” she says. “People don’t show you love back. But if I can get a Queen Bee island one day, love would be power.” Little Damion starts to cry. “Come ‘ere, pookie-pumpkin,” Kim says, soothing his tears and promising him they’ll go roller-skating later. “I think God has a plan for me,” she says. “There are some people who still don’t understand. But I know by the end of my fulfillment they will.”
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P. Diddy: Can Hip Hop's Man Of Steel Rebuild Bad Boy?
P. Diddy: Can Hip Hop’s Man Of Steel Rebuild Bad Boy?
P. Diddy: Can Hip Hop's Man Of Steel Rebuild Bad Boy?
THE PASSION OF PUFF
Photographs By: Guzman
Issue: August 2004
Even with his music empire in question, P. Diddy refuses to drop out of the race. Lola Ogunnaike examines the life of the ever-evolving artist, activist, fashion designer, thespian, and marathon man. Will the curtain ever come down on the incredible Mr. Combs?
HERE, at Manhattan’s Royale Theater, you are only to refer to him as Walter Lee. No Sean Combs, no Puffy, no P. Diddy. All reminders of his bold-faced life are to be left at the door. “I’ve got to stay in character,” the music mogul turned actor explains. “Because I’m not as experienced as everyone else, where I know how to turn it on and off.” Complete with flat-screen television, tricked-out iPod system, and exquisite chocolate-leather side chairs, Diddy’s dressing room, no bigger than a sizable walk-in closet, still has the flavor one would expect of a man of his stature. What is surprising, however, are the pictures of black luminaries, both living and late, that wallpaper the tight quaters: the Notorious B.I.G., James Brown, Run-DMC, Malcolm X, Sammy Davis Jr., Ossie Davis, Coretta Scott King, and Jay-Z. There are several photos of his idol Muhammad Ali, including a beautiful candid shot that hangs in the restroom.
“Denzel’s my acting hero,” Diddy says, pointing to a shot of the Oscar-winning veteran. “Flavor Flav was different,” he says gesturing to Public Enemy’s resident court jester. “It takes a lot of guts and heart to be yourself.” MC Hammer also earns a place on Diddy’s wall of fame. “A lot of people try to hate on him because he danced, but he danced his ass off. I think he’ll be more appreciated in years to come.” Even more curious than Mr. Too Legit to Quit, however, is the O.J. Simpson mug shot.
“I’ve been right at that place,” Diddy offers quietly. “It’s a constant reminder of what they can do to you if you ever get too comfortable. I’m one of those Negroes that’s allowed into certain parties, but if I start believing the hype, like I’m the ‘special Negro,’ then I could end up just like that.”
Six days a week, for the past three months, Diddy has starred in the Broadway revival of A Raisin in the Sun, Lorraine Hansberry’s classic play about a 1950’s family struggling to fulfill its dreams on the segregated South Side of Chicago.
In the production, he plays a frustrated, down-on-his-luck chauffeur, who longs to use the life insurance money left to his mother (played brilliantly by The Cosby Show alum Phylicia Rasha) to open a liquor store. It is a role immortalized by Sidney Poitier, who acted in both the stage and screen versions. Diddy refers to the part, which he landed after two auditions, as “a chance of a lifetime.”
Combs’s casting, however, caused plenty of controversy. Many believed the role would have been better served by a true thespian. Until Raisin, the music mogul’s acting resume was comprised of bit parts in small movies (Made and Monster’s Ball) and big parts in music videos. Theater-tested, he was not. “I think it’s a stupid choice,” actor Omar Epps railed in New York’s Daily News. “You can’t just decide what you want to act and be good… There are people who devote their lives to acting who don’t get a shot like that.” Epps, ex-boyfriend of Raisin costar Sanaa Lathan, added, “With Sean Combs in it, it could be like a B movie.” Ouch.
Still, no stranger to arched eyebrows and below-the-belt jabs, Diddy persevered, studying with veteran acting coach Susan Baston, who has trained the likes of Nicole Kidman and Tom Cruise, into the wee hours of the morning. “Nothing has been as hard as this,” Diddy says one recent evening after a matinee performance. “I didn’t know what I was getting myself into.”
Lathan admitted she was nervous that Puffy would be unable to deliver. Once rehearsals began, however, her fears were alleviated. “He worked harder than I’ve ever seen anybody work,” Lathan gushes. “I watched him go through the process and be like a sponge. I watched him fall down and get back up and not worry about what the world is saying.”
There is no disputing Diddy has been drawing audiences both young and old. But reviews of his performance have been mixed, ranging from pretty damn good to pretty darn awful. The same traits that make him a brilliant businessman in many ways inhibit his ability to play the complicated Walter Lee. “The hardest thing for him is to surrender to the pain and the hurt,” Baston explains. “One day I was screaming. Haven’t you ever lost? And he says, ‘Yeah, but do you think I hold on to that feeling? I refuse to remember those type of feelings.’”
“This role is so against everything I’ve become,” Diddy says. “Over the years, I’ve had to learn to control my anger and rage. I have to have tough skin, ‘cause I gotta wake up and hear so many lies about me and deal with so much envy. It’s created a numbness, so I can handle whatever you’re going to hit me with.”
Taped to Diddy’s dressing-room mirror, next to a photo of Hansberry, who died of cancer in 1965 at age 34, is a snapshot of his father, Melvin, who was murdered when Combs was just 3. Langston Hughes’s poem “Dreams Deferred” (Raisin borrows its title from a line in this poem) rests next to a junior-high version of Combs scrambling across a football field. “That’s my dream deferred,” he says as When We Were Kings, the famed Muhammad Ali documentary, plays in the background. “I wanted to be a football player, but I broke my leg.”
Twenty-minutes before showtime, Diddy heads outside to jump rope in an alley, where he moves with the grace and agility of a seasoned boxer. It is a nightly ritual, one of the many that prepares him for the three-hour spectacle that awaits him. “When I’m jumping rope,” he says, “I’m listening to my body, trying to find a rhythm that I can control. When I find that rhythm, nothing can stop me. I can squeeze through corners.”
SQUEEZE through corners, leap buildings in a single bound, turn water into wine. At this point, the question is no longer what can he do, but rather what, dear God, can’t Diddy do. The answer to that is yet to come.
You’ve watched him mold artists like Mary J. Blige and Mase into stars; peeped him sauntering down red carpets and runways in getups from his Sean John fashion line. You’ve shared his pain as he’s mourned the loss of his label’s biggest superstar, the Notorious B.I.G., stood amazed as Combs narrowly escaped prison, cheered as he carved his hair into a Mohawk and ran all 26 miles of the New York City marathon. And you’ve marveled as he turned his grandiose dreams into one of the most influential labels in hip hop. Now the indefatigable Diddy, who recently signed a fragrance deal with Estee Lauder, is jumping into politics by developing a show for MTV.
There, Puffy hopes to grill Kerry and Bush about problems that affect everyday Americans. “We’re going to talk to the man that’s fucked up and can’t feed his family,” he says. “We’re going to talk to kids who go to schools with no desks.”
TUCKED away in the backseat of his chauffeur-driven SUV, three days before he makes public his decision to dismantle Bad Boy’s Da Band, Diddy launches into a passionate diatribe about work ethic and the group’s lack thereof. Borrowing a line from Raisin, he diagnoses Dylan—the group’s resident rebel—with “acute ghettoitis.” “He has a self-destruct button and doesn’t take life seriously. So many young men and women don’t take life seriously and don’t decide to get off the corner until they’re around 35. But don’t nobody want to hear from your old ass at 35, talking about you wanna own a record company or open up a store,” says Diddy. “You wanted to spend 10 years hanging on the corner, smoking blunts, sleeping all day, and when it’s time to get serious at 35, you wanna look at other cats that’s hustled since they was 16 and be mad at them?”
Standing tall on his soapbox, and amped Diddy continues. Da Band’s initial refusal to walk from Manhattan to Brooklyn to fetch him cheesecake comes to mind. “If I were them, I would go get cheesecake right now, butt naked with some razor-blade slippers on, sliding through an alcohol pond.”
He says he had no problem pulling the plug on the band, sending home Dylan, Sara, the singer and mother of three, and Dred, the thumb-sucking knucklehead from Miami. Only Ness (Diddy’s favorite) and Babs (the people’s choice) were invited to stay. After the show wrapped, Puffy signed Young Cuty, aka Chopper, to Bad Boy South. “I wanted to make the decision to end it a long time ago, but for the first time in my life, I didn’t thoroughly read a contract, and I was stuck,” Diddy explains. “When the time came and I was able to do it, I let them have it.”
In an over-the-top display, clearly designed to humiliate, Diddy ordered Dylan to “Get the fuck out of my house,” repeatedly. Dylan quiet as a mime, quickly packed his things and bounced – a terribly un-gangster moment for someone who claims his last name is Dilinjah. Diddy remains unapologetic. “What was I supposed to do? Kindly ask him to leave? It’s television, baby. Hollywood.”
Dylan now claims that the spectacle viewers were treated to that evening was far from reality. “All that shit you seen was a fraud,” he says. “I never never saw Puff that evening. That was old footage that they edited together. I love MTC – the exposure was great. But that was wrong how they made it look like he was disrespecting me.”
While all agree tha thte band’s dismantling was for the best (“I got fed up with dealing with everyone’s issues,” says Fred. “They were holding me back”), Babs says she was shocked by the news. “When he called that meeting, we thought it was going to be about the second album, but obviously it wasn’t,” she said.
WITH his reality series off the air, for now, and his A Raisin in the Sun schedule almost over, Diddy may finally have time to focus on Bad Boy, the company he founded more than a decade ago. It’s no secret that, in recent years, the label has lost some luster. A scant seven years ago, Bad Boy dominated the charts with hits like “Mo Money Mo Problems,” “I’ll Be Missing You,” and “It’s All About the Benjamins.” Since then, the label has put out enough bricks to build a housing project. Some say Diddy’s outside ambitions are to blame. “Puff used to eat, sleep, and shit that label,” a former Bad Boy executive says. “It was like his child. And now, basically, he’s been a neglectful father. He only takes care of it when he has the time.”
Even Da Band makes not of his absence. “We hardly seen Puff that whole season,” Young City shares. “We maybe saw him, like, three times, but that MTV editing made it seem like he was there every day.”
While Diddy approaches the apex of his multifaceted career, the label appears to have reached its nadir. Biggie is dead. His widow, Faith Evans, has jumped to Capitol Records, 112 skipped to Def Jam. Total has disbanded. G. Dep is on hold, “dealing with personal issues,” Diddy reluctantly offers, before confirming that “Whoa!” one-hit wonder Black Rob is, according to Diddy, incarcerated once again. Loon’s debut tanked, (a meager 325,114 in sales). The sophomore jinx has gotten the best of Carl Thomas. While 8Ball and MJG give Bad Boy some Southern credibility, Mario Winans has sold an impressive 955,497 – still not exactly the sales Bad Boy is used to. And Dream, Bad Boy’s marginally talented girl group, if we ever hear from them again, will release what will surely be one of the most unanticipated albums.
It’s hard to suppress a giggle when Puffy says that he has signed ‘80s R&B boy group New Edition, as if a group of retirement home-bound crooners will lead his label back to greatness. To the TRL generation, you point out, NE might as well be the Temptations. Diddy grows defensive. “It’s definitely one of the best albums I’ve been involved in,” he says of this yet-to-be-titled set. It’s right up there with What’s the 411? and My Life.” At any hint of skepticism, he adds, “I’m used to people questioning or second-guessing. Just like people laughed at A Raisin in the Sun and had bets on what I’d do in the marathon. The next thing is New Edition.”
Talks turn to Shyne, who recently inked a reported multimillion dollar deal with Def Jam. “He signed with my blessing,” Diddy makes clear. Late last winter, after receiving a call from Shyne’s attorney requesting that his client be allowed to shop for a new deal, Diddy says he released the artist in an effort to give him a fresh start. Although Shyne has publicly denounced his former label head, Combs says, “That don’t build no animosity up in my heart.” Shyne, currently serving 10 years in prison on charges stemming from a shooting in a Manhattan nightclub, has said that he took the fall for Puffy. When asked about this, without missing a beat, Diddy says, “I’m my own man. I can stand on my own two feet. Whatever I’ve done in my life, I can handle myself. I don’t need to never put nobody in front to block me. I don’t use no shields for nothing.”
The plate of lobster salad and vegetables au gratin his personal chef has prepared this afternoon grows cold as Diddy, sitting in the kitchen of his Park Avenue town house, discusses his plans for the future of his label. He is determined to “resurrect and revitalize the Bad Boy movement,” he says. “I had to put a couple of artists on hold just to see if they’re going to be headed into the next era. I’m trying to build a championship team, and I definitely have to approach it more like Steinbrenner building the Yankees.”
If anyone can lead a team to victory it is Mase, who, fresh from a five-year hiatus as a reverend, has returned to the rap game with “Welcome Back,” a classic Mase feel-good track (proving rappers never retire). His yet-to-be-titled upcoming disc, a classic Mase party album, due out in August, could be the jolt Bad Boy needs.
Diddy claims he never tried to dissuade Mase from abandoning rap for the Lord. “I don’t question God, and I believed what I was seeing. It was a look in his eyes that I had never seen before. Was my pockets hurt? Yeah, my pockets was fucked up,” Diddy admits. “I had just given him a seven-figure advance.”
Over the years, the two kept in contact sporadically, but weren’t bosom buddies. “I ain’t gonna lie,” Diddy says. “I was still a little mad about my money, but he was still my brother. He was a preacher with seven figures of my money in his pocket.”
Just as he is attempting to get his label in order, Diddy is also simplifying his love life. Kim Porter, a gorgeous model and mother of his 6-year-old son, Christian, has won Diddy’s heart. The couple has been dating on and off for almost a decade, and there have been a few speed bumps: Public perception was that he dumped her for J. Lo; she sued him for more child support. All that is behind them now. “The shorty that ride and die with you ended up getting my heart,” says Diddy. Not exactly the stuff of Hallmark cards, but the point is made. “Once all the smoke cleared, she was there. She knows how to support me, and most importantly, she knows how to be my friend.”
BACK in his dressing room, Diddy is surrounded by friends and well-wishers, most notably comedian Chris Rock and his very pregnant wife, Malaak. They are not the first, nor will they be the last, celebrities to pay Diddy a visit. Meryl Streep, Oprah Winfrey, Sean Penn, Bono, and Muhammad Ali have all dropped by. Rock and Combs exchange pleasantries.
“Yo, that burgundy suit was a good look,” Diddy says, referring to the outfit Rock sported on his recent Never Scared HBO special.
“A little bit brighter and it would have been country,” Rock snickers. “I would have been like Steve Harvey.”
The two men at the top of their respective fields go back and forth about who has worked harder in recent months. Diddy gives it to Rock. “You were on the road for eight months, man.” Rock gives it to Diddy. “You’re onstage every night.”
Before leaving, Rock exclaims, “Man we got to do something together. Let’s set this world on fire.”
“Let’s do it, baby,” Diddy says. “I got the gasoline and the dynamite. You tell me when.”
When everyone has left, Puffy stands staring at another photo on his wall. It is of him, in high school, competing in the 4×400 race at the Penn Relays. He leads a pack of runners by several feet, and it is clear he will be victorious. “That’s the way I run my life,” says Puffy, smiling. “Even though there’s no one next to me, I’m really racing against somebody. I’m racing against myself.” And can you imagine a more formidable opponent?
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Shyne: Why Is This Man Worth More Than $15 Million?
Shyne: Why Is This Man Worth More Than $15 Million?
Shyne: Why Is This Man Worth More Than $15 Million?
TIME WILL TELL
Written By: Akiba J. Solomon
Photographs By: Dana Lixenberg
Issue: September 2004
In his first interview from prison, Shyne lets loose on P. Diddy, 50 Cent, and the conspiracy that put him in jail. Akiba J. Solomon locks in to discover why, four years after the debacle, the former bad boy refuses to banish freedom form his mind.
Jamaal “Shyne” Barrow, 25, sits on the prisoner side of the table. He’s wearing the perversely preppy L.L. Bean-esque prison issue – forest green. Correction officers oversee his every transaction. And yet the Belize-born, Brooklyn-bred enigma insists that he’s not really here at Clinton Correctional Facility serving the third year of his decade-long sentence. He won’t give this place the satisfaction. “You call it prison,” he says in the baritone that was once famously compared to the Notorious B.I.G.’s. “But it’s more like being on a journey. When I’m able to think clearly, to bow down and praise my maker, it don’t get no freer than that.”
Despite Shyne’s self-preserving perception, it’s hard to ignore the physical reality of Clinton, a massive state prison surrounded by a bleak sharp. The walls are thick. Almost all of the guards are white, while nearly three-quarters of the prisoners are black and Latino. Tupac spent nearly a year here. And former Black Panther Robert “Seth” Hayes still languishes at Clinton.
Once inside, every visitor must go through a metal detector, creep across a barren courtyard, and take a seat at the long low, wooden table that separates the visitors from the inmates. In here, whether your spirit is free or not, shit is real.
Choking on the fetid air of Clinton, you could make a Scared Straight! kind of argument of why Shyne’s moral stance carries more consequences than rewards. However, the time away has invigorated his career rather than killed it. In the present rap climate of 50 Cent’s commercial gangsta appeal, Shyne has become a folk hero whose legend grows with each day of his absence.
“Shyne’s story alone will sell records,” predicts Sway, and MTV News commentator and cofounder of the legendary Wake Up Show, a syndicated radio program. “He appeals to the same audience as 50 Cent: inner-city youth who feel like they got it bad in the struggle, nerds who want to seem down, and people who don’t live in the community but are fascinated by our lives. Shyne will validate their hipness.”
Fat Joe elaborates: “There’s so much fakeness in hip hop, so many gimmick rappers and character dudes. But she is as real as any soldier.”
Kanye West ramps up the lovefest: “I had Shyne in mind when I made ‘Lucifer.’ I could have pictured him on ‘Jesus Walks.’ He is one of the few niggas who really lives by his word.”
M-1 of dead prez, a onetime skeptic, pays his respects: “Honestly, I just listened to his album in 2003. I get inspiration from him. He’ll say things like, ‘Hip hop is not responsible for the violence in America’ in the middle of a song about slinging mad coke. He’s a struggling black man, and his struggle is real.” Even Puffy, his onetime codefendant, concedes: “He’s definitely a musical genius.”
Which brings us to Bidding War: The Sequel (in 1998, Bad Boy won the first bidding war for Shyne debut, signing him for over a million dollars.) Last spring, Shyne began taking meetings with the check-signer who had come courting shortly after his sentencing. True to form, Shyne refuses to name names but says that “every major label boss” trekked upstate, spawning enough fake rumors to crash a BlackBerry. The were Shyne sighting, premature news stories about his still-pending appeal, and reports of a $7 million deal with Columbia or Warner Music Group or Elektra of Death Row of Ruff Ryders or Shay or Interscope of The Inc. or Jesus Christ (okay, not Jesus).
Also among the suitors was 50 Cent, who, according to Shyne, hoped to enlist him as a soldier in his G Unit. But then 50 went on N.Y.C.’s Hot 97 and rapped: “I heard Irv is trying to sign Shyne, so I don’t got no love for him / Tell him 50 said he’s soft and won’t shoot up a club again.” After that, Shyne was unmoved by the possibility of working with 50, in any capacity. “The little doggy still a wanted to sign me and wanted me to ride with him. He apologized for the comment,” says Shyne. “But before that, I was angry.”
According to Shyne, when word of 50 Cent’s dis reached him, God created a response through “immaculate conception” titled “For Record,” on which he questions 50’s street credibility and threatens to reunite him with his dead mother. “You just wanna sell records… You don’t want to ride,” Shyne raps. “You want to get rich and hide / Cause niggas would have died if shot me nine times / That’s why he tried to sign me to G Unit, tell em how you made me offers / But I don’t run with rats, I’m Godfather.”
“I couldn’t get on the radio or mixtapes and defend myself from here,” Shyne says of his dis record, confident that the battle will stop with his rhyme. “I had to hold it. And I still didn’t send the wolves after him, so at the least, he has to hold.”
The song appears on his sophomore album, Godfather Buried Alive. Whether 50 Cent, who was unavailable for comment, will respond is yet to be determined.
In the end, Island DefJam prevailed in the competition to sign Shyne, inking what it calls “a multimillion-dollar joint venture” between the company and Shyne’s Gangland Record Corp. Sources close to the seal say it’s a $15 million agreement – a risky venture for artist whose debut barely sold 900,000 copies and who has no prior experience as a music executive. Not since Tupac has an artist been able to squeeze as much juice from behind bars. “Shyne’s personal issues do not stop him from having a voice,” says IDJ honcho Antonio “LA” Reid of his decision to work with a man who may not get out of prison for another seven years. “Shyne has demonstrated a keen understanding about both business and creativity. He understands that business is about vision and knowing what it takes to monetize that vision into economic empowerment.”
Godfather Buried Alive piece together the political possibilities and the street arrogance of a pre-jailed Shyne. He lyrically slow-rides over the hypnotic “Quasi OG,” which samples Bob Marley & the Wailers’ haunting song “No More Trouble.” He tough-talks to Siwzz Beatz’s steadily pounding drums on “Shyne.” And through it all, you get that there’s a message beneath the gangster lean.
“I’ll lean ride to the end for him,” he says Foxy Brown, who’s rumored to have linked up with Shyne and Jay-Z to form a supergroup of the Firm proportions (as in Foxy, Nas, Dr. Dre). “He’s sitting in prison barking out order like, ‘I need you to be in the studio at 7 p.m.’ I’m like, Wow, you’re running an empire from behind bars.”
VIBE: How did this idea for a Brooklyn supergroup come about?
Shyne: I knew Inga [Foxy] since we was in high school. Jay-Z is someone who I have a distinct level of respect for, musically. I spoke to Inga and Jay-Z about it, and we’re working out the logistics. Right now, it’s really just a vision. It ain’t solidified.
Do you think the music you recorded when you were on trial still represents you?
Oh, absolutely. You’ll feel what I was going through – the fuckin’ pressure of havin’ to go from the courtroom straight to the studio and really make some shit, because this could be the last song I record for who know how long.
What do you think about hip hop right now?
Four years ago, I made a conscious decision not to listen to the radio or watch TV. I was thinking about why God had me trapped off like this, as if he was telling me that he ain’t want me to do music on some Mason Betha shit. But during that time, records just started created through me. I became the artist I always wanted to be without trying.
So you’re saying that for all these years, you haven’t thought about the competition?
Look, I’m not concerned with the external shit. I got an appeal pending. I’m fighting for my life. Fuck what these cartoons are out her talking about, man. So many things come before what’s happening with music.
~~~~~~
So here’s a refresher on how Shyne wound up on this… journey: On December 27, 1999, Natania Reuben, Julius Jones, and Robert Thompson were shot while partying at midtown Manhattan’s Club New York. By most accounts, the gunfire stemmed from a heated exchange between Sean “Puffy” Combs and Matthew “Scar” Allen. Combs, his former girlfriend Jennifer Lopez, and longtime bodyguard Anthony “Wolf” Jones fled the club and led police on an 11-block chase. Shyne, however, was nabbed right outside the club with a 9-mm tucked in his waistband.
On March 16, 2001, after seven-week trial, Combs was cleared as was codefendant Jones. (Last November, Jones was killed by a stray bullet outside of an Atlanta night club.) Shyne, the only defendant who copped to having and firing a weapon, was convicted of weapons possession, reckless endangerment, and assault – all but the most serious charge of attempted murder. And while Shyne has publicly ridiculed Combs, labeling him a snitch and a rat, Comb’s account of that night differ from his former protégé’s. “None of my testimony could have, in any shape, way, or form, hurt him,” says Combs. “Anything that I ever said was only dealing with me. If I didn’t have a gun, I’m gonna get on the stand and say I didn’t have a gun. But I ain’t never gonna sell out anybody else and say I ain’t have a gun but he did.”
The trial infuriates Shyne. Three years removed, and he still believe he was wronged by Combs, a man he once called a brother. “He wouldn’t even out up my bail!” Shyne says. (Combs claims that he did, and contributed to Shyne’s appeal.) “I had to beg and cry for him to pay for the lawyers. He did not personally contribute to appeal. Whatever money he gave me was from my recording budget by Arista.”
~~~~~~
Let’s go back to before the trial – 1998. There was talk of Puffy signing you for more than a million dollars after a heated bidding war. You were going to be the next Biggie. By ’99, you had a reputation for unjustifiable arrogance. What happened?
I ain’t never been given nothin’ in my life; all I had was just the richness of my thought. So when the shit finally translated into material, I ain’t know how to act. I’d get up at, like, 7 at night and drive around in my Mercedes 600, just looking for something to to run up in. I’d go to the club and spend thousands of dollars on Cristal. Healthwise, I was fucked up.
How’d you find the energy for all that?
Sometimes I didn’t. I remember me and this chick – she’s like one of the biggest stars ever – we was almost ready to go for the home run, and I fell asleep!
Asleep on the job? Whoa. When did you decide to putt it together?
Me and the R&B chick had a little argument, and she was like, ‘Yo, duke, you ain’t even sell one record. Who the fuck do you think you are?’ That shit reminded me that since I’m a music nigga, I’m supposed to be making music.
Did your relationship with Puff transcend the professional?
Yeah. When my funds were fucked up at the end of 99, he let me stay at the crib. I was with him and homegirl J. Lo all the time. When the nigga had Thanksgiving, I was there. His family was there. Wolf-God bless the dead – and his family was there. At that point, I was his little brother, so despite whatever I heard about homeboy, like the way he treated his artists, I ain’t seen that until the trial.
When you saw where the confrontation was going – money being tossed, voices being raised – why didn’t you just walk away?
That wasn’t my beef, but I wasn’t gonna walk away – I live with this nigga. I roll with this nigga every day.
During Puffy’s testimony, his attorney asked him if you were friends, and essentially, he said that you were no different than his other artists. What did your relationship have to do with the criminal charges?
There’s a New York self-defense statute that says that you don’t have the “duty to retreat” if a loved one or friend is still in danger. So fi Puff would have said I was his homeboy, my lawyers could have argued that I had no duty to retreat. Instead, Scrams go tot the stand on some, ‘Yeah, he’s just another artist on my label.’ This fucked me up with the jury.
I can imagine it hurt in other ways, too.
You know, after the conviction, I was diagnosed with post-traumatic stress disorder. This was based on me being shot when I was younger; you know, when I was like, 15 they shot me and they blew my homeboy’s brains out right in front of my eyes.
But why did you accuse Puffy of being a rat?
They call this chick, Cherise Myers, to testify. She said that I pulled out my gun and started shooting all crazy, and that Wolf – God bless the dead – was tell me to stop. That’s just the fucking farthest thing from the truth. As my homeboy, how you gonna put somebody on the stand whose lie could put me behind bars for 25 years?
Where were your lawyers in all of this?
Murray Richman is supposed to be one of the best lawyers; he helped Jigga, he got DMX off. But he was trash. He did nothing in comparison to Comb’s attorneys, Benjamin Brafman and Johnnie Cochran. They were just asking commonsense questions, but Richman wasn’t even making sense, man. Like he was smoked out or something.
Did you confront him?
Yeah! I was like, What the fuck are you doing?! I couldn’t even speak to this nigga after the first couple of days of testimony. After that, Ian Niles took over.
Are you still angry at Puffy about the trial?
I got eye; the metaphysical and the material. Right now, I’m on some metaphysical shit, like this happened for a reason. I’m extraordinarily blessed. My career ain’t destroyed, and the love I’ve been getting from the people is unimaginable.
But the material eye wanna pop his top, because this shit didn’t just affect me. It affected my mother and my grandmother, and it could have destroyed my livelihood. More than that, it could have been prevented. All he had to do was tell the truth.
What’s the truth?
He could have just said: “Matthew ‘Scar’ Allen was arguing with us and threatening us. One of his doggies pulled out, and then I pulled out in self-defense.” That’s all he had to do.
~~~~~~
Nile was unavailable was unavailable for comment. For his part, Richman contends that Shyne stymied his own defense. “I have no allegiance to Puffy, and nobody took a fall. If you’re looking to find fault as to why he was convicted, stop and think of what the evidence showed, then come to that conclusion. Here was a 21-year-old man thinking he knows how to try a case better than a lawyer who was practicing for 40 years.”
Combs feels that he is being scapegoated along with the attorneys who worked on Shyne’s case. “I didn’t know Ian as a criminal lawyer. He asked me to pay for his legal fees, and I did. But I did not consult him on which lawyers should be chosen except when I was offered my legal team to work on both our cases, and he said, which I would understand, that he didn’t want that.”
Combs also maintains that he lawyers tried to work together to support each other. And as for the duty to retreat statute, Diddy says: “I never went on record that he wasn’t a friend or anything like that. Besides, no lawyer said, ‘Can you please make it a point to say he’s your friend.’ That never came up.”
Last spring, Shyne enlisted Charles J. Ogletree, the Harvard Law professor and trial attorney who secured Tupac’s bail release from Clinton. At press time, Shyne has two options pending for an early release. The first is an appeal that, according to Ogletree, details “multiple examples of error in the case” that prevented Shyne from presenting a viable defense. The second is a motion that includes what Shyne calls “bombshell evidence” of an alleged romantic relationship between a key witness and a woman who worked for the prosecutor. “The goal is for Jamaal to get this conviction reversed and get a new trial, so he finally has a chance to present the substantial evidence that could create a different result,” Ogletree says. Both attorney and client are optimistic, with Shyne predicting he’ll be out on bail at worst by the end of 2004.
~~~~~~
So what are you going to do the first day you get home?
I’ll pay a visit and go to the studio. I got damn near 10 albums to put down. And this ain’t about me coming out and being the biggest superstar; it’s about making this music and, hopefully, affecting people the way Bob Marley and Pac did.
So after you leave the studio, then what?
I’m not gonna leave the studio. There’s a lot of record to be made.
Did this environment force you to become more spiritual?
Being here just magnified what I really was. I’ve gone through so many different phases trying to understand the Most High, from Islam to Christianity. But what the Hebrew talk about just simplifies everything, it’s just the Mist High and you, there’s no intermediary.
Have you ever asked God why he chose this path for you?
The Most High took me from Flatbush, Brooklyn – from my moms scrubbing other people’s toilets and me sleepin’ on a couch til I was 17 – to a record deal. So I can’t complain now. There’s motherfuckers in here that got natural life. Hen I look at their burdens, my load doesn’t look so heavy.
If this is indeed a journey, are there any unbearable moments?
Don’t get it twisted or tangled, it’s serious. Being here is like walking on clear water, and hell is beneath. I see the fire burning, I see motherfuckers being tortured, but I can’t look down. I can only look up – and ahead.
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Hip Hop's Messiah Is Mase For Real?
Hip Hop’s Messiah Is Mase For Real?
Hip Hop's Messiah Is Mase For Real?
DELIVERANCE
Photographs By: Erin Patrice O’Brien
Issue: October 2004
Five years after swearing off rap music and devoting his life to God, Mase has returned with a new reason to rhyme. Carlito testifies as Pastor Bertha takes us to church…and beyond.
You’ve probably heard the buzz about Mase’s reentry album, Welcome Back. You’ve most likely grooved to the set-up single, “Welcome Back,” and bopped to the club-shaker “Breathe, Stretch, Shake.” But it’s a good bet that during the five years he’s been preaching down South, you haven’t witnessed him in action and shouted, “Amen!” // Five minutes from Interstate 85, on a tree-shaded road near the outskirts of Atlanta, the parking lot of S.A.N.E. Church International has just about reached critical mass. The sticky heat this Sunday morning mean nothing to the devout souls who’ve come to hear the Word. // They fill the main hall in the low, wide building that looks more like a meeting lodge than a traditional church. Soon every seat is full. A closed-circuit A/V hook-up simulcasts from the main hall to the overflow room, which does its best to accommodate the late risers before all its seats are filled as well.// The church—its name an acronym for “Saving a Nation Endangered.”—will soon move to brand-new and much bigger digs, complete with a school and related facilities, according to the architectural pen-and-inks hanging on the walls.
The first thing that hits you as you glance around is how young everyone is. Even the “elders,” handsome cats with silk ties and beautiful sisters with eyes that smile, can’t be more than 32, 33 years-old. Young husbands and wives. Young mothers and fathers, sons and daughters.
The next thing you’ll peep us the dress code. Although a good half of the congregation adheres to the custom of rocking one’s Sunday finery, more than a few worshippers a, let’s say, hip hop look: fresh Air Force Ones and striped button-downs, for example. But right in line with the minister of S.A.N.E. Church’s decidedly different modus operandi, no one gets a sideways look for dressing down.
Then there are the salvation-minded folks, most of whom are in these seats every Sunday without fail, and they don’t care one iota about some rapper named Mase. The man they’ve come to hear is an older, wiser, and ultimately more serious man they call Pastor Betha.
You’ll notice that today’s sermon, peppered with many an interpreted Biblical reference to having money, sounds a lot like a spiritual version of Napoleon Hill’s Think and Grow Rich. “My message is you can live well and you don’t have to do all the wrong things,” Mase will say later.
“He always had the tailor-made suit, the brand new Range, and the iced-out watch and wedding band. But he never was too iced out,” says Samuel Hayes, who was once a regular at S.A.N.E Ministries. “He did focus a lot in his sermons on monetary wealth. But he is in a city where there are quite a few millionaire pastor as examples.”
In the Atlanta area, Bishop Eddie L. Long (New Birth Missionary Baptist Church) and Mase’s pastor, Dr. Creflo A. Dollar (World Changers Church International), helm two of the largest—and most successful—African-American congregations in the nation. Dollar, it should come as a no surprise, preaches about the power of faith along with the rewards of, well, the dollar. He has a million-dollar home, a jet, and other trappings he believes befit a man of God.
Pastor Betha’s S.A.N.E hasn’t had the same financial success as Dollar’s church, nor does it boast the healthy flock (23, 500 strong) of Long’s. But that doesn’t mean money ain’t a thing. “One day he took offerings, and there was like $67 there with 80 people in church,” recalls Hayes. “He got mad and made everybody come up to the altar and get their money back. He said he was disgusted that we can spend $4 or $5 on drinks at Justin’s but couldn’t tithe or give to the Lord.”
Though Hayes has since left the church and takes issue with some of the pastor’s methods, he does see some positives. “I think that his technique and delivery were good for certain types of people,” Hayes says. “He has a tough love ministry. It could be a wake up call.”
An awakening is just what Mase is going after. When he raps, “Need a plane? I explain it to my broker,” on “Welcome Back,” Mase says he’s not boasting. He’s just revealing to you that there are options to finding your treasure here on earth while still securing your place in the afterlife. “That’s just common sense. If you need a plane, you speak to a person who goes out and buys it,” he says. “Bragging is to say, ‘I have a plan and you don’t’—boast in your own ability without relating it to the higher power. Because I have a relationship with the power. I’m expected to succeed.”
But Mase, 29, would rather keep his ministry separate from his music—at least when it comes to questions about the two. “Trying to get dirt on a church for a story is not something beneficial to you,” he’ll say when asked whether disgruntled members of like Hayes ever discourage him. “It will totally backfire on you. My job as a minister is to warn you of things that you may not see.”
Though it may seem curious that a pastor might guard ministry’s reputation with karmic warnings, Mase believes what he says. After all, he has learned that his job has certain implicit hazards. Falling out with former friends and past running mates, for one.
During an interview on New York’s Hot 97 at the end of July, Mase fielded questions concerning his deteriorated relationship with former rap partner Cam’ron. Then Jim Jones called up and blasted up the pastor for allegedly requesting $50,000 to appear in Cam’Ron’s video. “Horse and Carriage.” Cam did the video without him. According to Jones and Cam’Ron, who also called to berate Mase, the pastor is lying about their split and using their names to gain publicity. “I will do it to you,” Jones threatened on the air. “You shouldn’t have come out your mouth. I’ll put some dentures in your mouth.” “For you to sit there and lie…,” added Cam’Ron, “you are a reverend!”
Jones alluded to the notion that Mase’s leaving New York had something to do with him being exorted and fearing for his life. “I know the young man from his teenage years,” Jones tells VIBE later that day. “When he was talking shit on the radio today and not telling the truth, I had to step in. There was a reason you left Harlem and a reason we stopped fucking with you. Don’t try to use as one of your ploys to get people’s attention.”
Apparently Jones sees Mase as a man, before he recognizes him as a pastor. “I’m a man of God, nigga,” says Jones, whose debut LP is titled The Diplomats Presents: Jim Jones on My Way to Church. “I believe in God. I pray, too. But when you say something out of line, you will get checked like a man.”
During the commercial, Mase said he prayed for Jones and Cam’Ron. “I don’t have any problems with them,” he said in response. “Even in the bible, when a person knows that you come to say something powerful, they try to discredit your name. One word from God can wipe out years of wrongdoings.”
And judging by the energized crowd that came to listen to Pastor Betha’s message today, there are many who find hope in his words. And those who don’t? “They do more judging of me than I’m doing of them,” Mase says. “You would think I would come back judging you. But I’m not judging you, so people say. ‘Let’s go after him.”
Something like eight years ago, an aspiring MC attending Purchase College SUNY convinced his manger, a long-time friend named Cudda, that if they could get to Jermaine Dupri’s birthday party in Atlanta, he’d make sure they would return to New York with a record label. Cudda sold his car and bought airline tickets.
You’ve heard the story about how the kid noticed Sean “Puffy” Combs strolling by. At the young’un’s urging, Cudda gave Combs the proverbial tap on the shoulder, and the rapper let loose. By the time the kid got back to New York, Puffy had made a plans to use him on a remix for 112’s “Only You.”
“He was Murder Mase when we first met him,” says Jadakiss, whose first encounter with Betha was as a rap adversary. Along with the members of the Lox, Jadakiss and Mase squared off in a war of words on 125th Street in Harlem. “He was a lil’ more grimy then,” ‘Kiss says. “Puff made him pretty. He was Murder Mase, but he couldn’t wait to step into the other thing and do all that dancing and smiling ,and whatever it took. He always said if he ever got the chance to do the shiny-suit thing, he was gonna take it and run with it.”
One signed contract and a promotional mixtape appearance later, the kid dropped the “Murder” from his stage name and took his place playing Bad Boy’s prince to Biggie’s king.
The rest, as they say, is hip hop history. Harlem World sold more than 4 million copies and confirmed what, by then, had become a foregone conclusion: Mase was a genuine superstar, and life was good.
Or so we thought. On April 4, 1999, not long before the release the of Double Up, his sophomore project, Mason Beth abruptly called it quits. Citing a contradiction between his livelihood and his religious beliefs, the self-proclaimed “young Harlem nigga with Goldie sound” packed his bags, and moved on, and pitched his tent in Atlanta—the very place where he had started his life as a professional rapper—and promptly began a new career as a minister.
“I was lying to myself,” he says about his decision to retire. “I could hear it on my second album. I had to fake it and be this dude they like. I started asking myself , Why is it that I have morals but I’m not living by them? And then asking people to be real with me is to say, I really don’t belong here.”
Radio phone lines lit up, barbershops and hair salons buzzed, and everybody had a theory. “Puff jerked him on his publishing!” and “Suge got him under pressure!” were among the more popular. But the truth according to Mase wasn’t anything as juicy as the grapevine or Jim Jones could come up with. The decision was altogether simple. “When I left, it was because of God,” he says. “And when I came back, it was because of God.”
Unlike Michael Jordan and a certain hip hop icon who comes to mind , people thought Mase would stay retired. Except for the publication of his memoirs, Revelations: There’s a Light After the Lime, hip hop didn’t hear from Mase again…until now.
~~~~~~
VIBE: When you announced your retirement in ’99 you seemed very clear in your conviction that the life of a hip hop celeb was not for you. Why the come back?
Mase: If I want to tell somebody something, I don’t print it in a newspaper they don’t read. I felt like my life would be more effective in hip hop. And I had to get strong enough to be able to live and maintain my lifestyle right in the midst of everything that made me contrary.
But if making “gospel rap” isn’t your intent won’t making secular music conflict with your beliefs, your duty as a man of God?
At one time it did. I told people I would never do music again. I couldn’t see it. It’s almost like when Jesus said, “Father, if there is any way for you to take this cup from me, take it from me.” But in the same minute, he turned right back around and said, “Not my will, thy will,” In other words, it’s really not about me anymore, it’s about what God wants me to do for people.
Do you get more fulfillment from music, as opposed to preaching at your church?
If I reach a guy who knows how wild I used to be, win that person is even more effective. I could move to Alaska and touch people there, but it’s nothing like touching your own, touching the people that know you. They saw your highs, your lows, they saw you confused, they saw you trying to find yourself. It would be robbery for them not to see me now. That’s what had to be revealed to me.
What was the revelation?
Jesus said, “I came to heal the sick, to give the blind their sight, to help lame men to walk.” The healed don’t need a physician. Why am I hiding myself in Atlanta? Who cares if I change the whole in Atlanta?
I’m not from Atlanta. It’s like, you get rich, okay, you live in L.A. now. That’s all good, but you haven’t touched anybody you grew up with. I can’t respect that.
How did your congregation take the news of your decision to return to rap music?
The majority of my church is young people, so they’re not looking at me like I’m buggin’ out. They’re looking at me like it was supposed to happen.
What makes you think they’ll still follow you?
Because when I tell them something, I’m speaking as a player in the game, not somebody that never experienced it. Whenever somebody relayed messages to you, it wasn’t somebody you could relate to. But now, if Mase tells it to you, get this: He ain’t even coming to tell it to you; he’s gonna live it, and let you ask him about it.
Had you been thinking about coming back for a while, or were you honestly okay with the idea of retirement?
When I left, I was totally separated from music. I didn’t watch TV for a couple of years, no BET or anything. People would offer me millions of dollars just to do a feature on a song. It clearly wasn’t about money. Then one day, it dawned on me: You were not saved and brought out of that world just to cut yourself from it. I was thinking that the separation was supposed to be forever.
Did you miss anything about your old life?
Really, there was so much good happening, I had no time to even think about rap music. In my first year away, millions of lives were touched from just that one decision. In my second year, I began to go around the world, preaching. And people who wouldn’t normally come to church. It would be like concerts almost, ‘cause those types of people would come out. With the same outfits and everything! And then in my third year, I ended up getting my family back together. My life changed. My insides changed. I changed. I didn’t feel I was Mase, so I didn’t miss anything that Mase had.
What about friends? Did you stay in touch with anybody from the heydays?
Throughout all of the people that I’ve given jobs to, supported their families, put their children through school? When it was all said and done, there were three people, out of at least 200, who even called me some of the time.
Was Diddy one of them?
Being that I’m a man of faith, I can’t lie: We weren’t in contact as much as I thought we would be. But he was supportive. What people don’t realize is that, when I first left, Puff could’ve sued me. He could’ve asked for his money back. He didn’t. He supported me leaving; he supported me coming back. He was instrumental in breaking my career, and I’m forever loyal to him because of that.
Who were the three people you stayed in touch with?
Groovey Lew, Cudda, and Phil Robinson. You know, Cudda is the only one who has donated anything to the church? Him and Nelly bought buses for the church. And I know a lot of millionaires who could have done things.
Like the old saying, “out of sight, out of mind.”
My five years away was like five years locked up. You know, because I can’t be on that song this week, I’m not as important. I can’t model your clothes, so I’m not as important. At first, that made me bitter, but I can’t get mad at them. This is what I wanted to know: If I didn’t have the bling, who would be there?
Ever hit any low points that made you question your decisions to quit?
One year, it seemed I was going to lose everything—my house, my mother’s house. All the things I had pending, that if I would’ve kept doing music, I could’ve paid for you. I think that was the hardest year if my life, 2001. That year, I began to miss monetary things, financial things. I’m over here doing right, and ain’t nothing going right.
But you could’ve gone anywhere and gotten a record deal.
And at that time, I was ready to come back, but for monetary reasons. I remember that day, crying in my bathroom. What am I gonna do?! And then peace came on me. “You gonna be alright.” That’s just how I heard it: “You gonna be alright.”
And that’s all it took? How’d you get through the financial situation?
Miraculously, God would touch people in high places that would bring me all types of checks and things like that. This guy, I don’t wanna say his name, a football player from another city, came, like, “Yo, God told me to give you this check.” Another guy came, “God told me to give you this car.” So many great things were coming to me. We was having church in the school auditorium, we ended up getting our own building. Things started picking up. To the people, it was encouraging, because they’re looking at it like good stuff does happen to good people.
~~~~~~~
From behind the mixing board in a basement studio, Mase explains his music’s bottom line. “I didn’t come to preach to people,” he declares, the overhead lights giving his eyes a friendly twinkle. The basement he’s been using to record Welcome Back happens to be the garage level of Kenneth “Babyface” Edmond’s former home, a $25 million spread tucked away near Bel-Air. And the light twinkling off the sherbert-colored diamonds in his watchband would blind a disco ball. But lest you forget, this is Mase, who along with B.I.G., Puff, and the Bad Boy family, spearheaded hip hop’s adoration of all things bling.
He zips through a couple of cuts from the album, at times rapping and chair-dancing along with the beats and rhymes. Judging from his eagerness to show off his songs and from the quality of the tracks themselves, you wouldn’t figure that the man nodding his head before you—resplendent in sparkly cuff links and crispy white Jordans—who, along with his wife, Twyla, leads a congregation in word and prayer every Sunday morning.
Let’s face it: devout Christians aren’t exactly known for their hipness, Kanye West’s current popularity notwithstanding.
“When you think of a person who is spiritual, you think of some corny dude, running around with his Bible,” Mase explains when asked about the motivation behind his return and of the criticism he says he’s encountered for lacing his sermons with just as many calls for economic salvation as for the more traditional kind. “I could’ve made ‘Jesus Walks’ ‘Jesus Screamed,’ Jesus Wept,’ ‘Jesus Cried.’ But after the show, if you see me going upstairs with three strippers, that counts for nothing. So my point was not to talk about it anything, just be about it.”
Despite not having grabbed a mike for hip hop reasons for some time, his rhymes—sprinkled with more references to pricey goods than you’d expect from a Christian minister—float effortlessly over the club friendly beats. Like with his sermons or the postings on his Web site, a cursory listen to his raps will tell you that Pastor Mason Betha sees no contradiction between divinity and dollars. “Luxury flow,” he calls it, giving a name to a trend that he helped jump off so many years ago.
Every song he plays is infectious, polished, and more carefully crafted than “Welcome Back,” which fittingly lifts the them music from a ‘70s sitcom about a teacher who returns to his Brooklyn high school.
“Not one name producer, and the album is crazy,” Mase brags. Writing the goal of outdoing Harlem World, he has delivered a feel-good disc. “I got beats from young hungry dudes that will blow them main dudes outta the water. My boys JB and Corron, their production company, the Movement, they’re doing beats that you would pay somebody a half-million and nine points for.”
Now partners with Cudda in Fo’ Reel Entertainment, Mase is as anxious as a newbie rappper whose fingers are still wet from the ink on the contract. Not unlike the way he felt when he heard his voice on a 112 remix. Only this time, he gets to mogulize as much as he emcees. More important to him, however, in his ability to touch lives.
“Yeah, I got all the bling,” he says. “I got colorful jewelry, I got everything. But this time, I’m not going to manipulate nobody for it. Before when I was doing music, it was like, I’m making all this money, but I’m killing you to make it. I’m singing your daughter out the house. I’m still having the same impact on her, but now she’s getting substance. That’s what’s lacking from music. You got all this money, but who have you touched besides you?”
If you ask Mase, he’ll tell you he got saved, went off to the country, and got his spirit in shape. And now he’s ready to tackle any demons—internal and the flesh-and-blood kind—he encounters along his way. “I’m a solution for hip hop. Not a problem,” he’ll say.
Mase will say that his music is nothing but a medium for a message. But it’s all still good if you cop his album for the hot beats and rhymes—and not because you’re looking for the Jesus angle. “Rap music is just a bridge for two worlds that need to collide,” he’ll declare. “Everybody in church wants their wealth, their jewelry. And everybody in hip hop wants their faith, their peace, and that love.” And we can only hope that salvation lies somewhere in between.
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The Notorious F.A.I.T.H.: Tupac, Drugs, And Life After Biggie
The Notorious F.A.I.T.H.: Tupac, Drugs, And Life After Biggie
The Notorious F.A.I.T.H.: Tupac, Drugs, And Life After Biggie
“WIDOWS PEAK” – For some, Faith Evans will always be Mrs. B.I.G., caught up with Lil Kim, Tupac, and Puffy. But Aliya S. King finds the First Lady focused on her new family, new look, new album, and her version of that case in ATL.
Written By: Aliya S. King
Photographs By: Alexei Hay
Issue: June 2005
In a dressing room at the New York studio where BET’s 106 & Pak is taped, Faith Evans walks up to her manager/husband, Todd Russaw, and waits patiently for him to finish a business conversation. She stands about two feet away, her eyes set on him as he exchanges numbers with a producer. She bites the inside of her lip and clasps her hands behind her back. He catchers her eye for a moment and holds up an index finger.
Evans has just finished an appearance on one of television’s most popular music countdown shows, introducing the brand-new video for her latest single and sharing some banter with the show’s hosts. Throughout the broadcast, Russaw kept his eyes focused on the monitors, his face expressionless.
Evan’s crew packs up their makeup brushes and hair dryers while burly security guards flirt with stylists. A John Legend video plays as her husband slips his PDA back into his pocket and looks at Faith. “Good job,” Russaw says. His face is serious and determined. “Your poise was good, your enthusiasm was up.” He gives a thumbs-up sign. “Good work.”
Evans, visibly relieved, smiles and gives a playful curtsy before joining her style team and preparing to leave. “All of the positive changes that my fans acknowledge – a lot of that is related to my husband,” Evans will explain later.
It all began with a workout plan. About five years ago, Russaw bluntly told her she needed to lose weight if she was serious about taking her career further. “Personally, it doesn’t matter to me. She can be 200 pounds,” says Russaw, fiddling with his BlacBerry. “But for this work thing? If we gon’ be spendin’ time away from our kids?” He looks up and raises his eyebrows. He points across the room in Faith’s direction. “You gotta look good, be in your best shape, and make people feel like there’s something about you that they want to be. Until men feel like they gotta have her… Russaw shrugs his shoulders. “That’s the business we’re in.”
At 32, Evans is thinner than she’s ever been in her adult life. Her newly svelte figure is poured into a pair of size 4 jeans and topped with a cinched-waist blazer. You would never suspect that she has three children back him in L.A.: 12-year-old Chyna; Biggie’s son, Christopher Jordan, 8; and 6-year-old Joshua, Russaw’s son. As she flits around the room, gathering her things, her husband’s eyes follow her. When asked his feelings on her hard-fought transformation from chubby to sleek, Russaw deadpans. “I thought it would have come earlier.”
Even before she married the man who became her manager, the shadow of strong men followed Faith. The father of her first child, daughter Chyna, was a local Newark, N.J., music producer named Kiyamma Griffin. His relationship with ‘80s-era R&B singer Al B. Sure! Led to Evan’s first gig as a session singer for $2,000 per week. Later, she was signed to Bad Boy and often found her career vision eclipsed by uberproducer Sean “Puffy” Combs.
But it’s her first marriage – an impetuous and tempestuous union with Christopher “Notorious B.I.G.” Wallace – that continues to define her in the public’s eye, for better or worse.
At 1:15 a.m. on March 9, 1997, the very moment that Wallace was pronounced dead, Faith Evans’s persona was immediately and eternally sealed into the title that would be typed into line 26 of his death certificate: Informant: Faith Renee Wallace, wife.
And since then, the popularity of Biggie’s music has made him ubiquitous even in death. She can’t take a 10-minute ride anywhere without hearing her deceased husband’s deep voice blaring though the speakers. And every time she looks at her son CJ, Biggie’s round-faced doppleganger, she sees him all over again. Even her tribute to Wallace – the fabled B.I.G. tattoo on her breast, long since covered up – is back, in a way. The name Chris is spelled out in fancy script on her left bicep, this time in honor of their son, Christopher Jordan.
While Evans was elevated to hip hop’s version of the bereaved first lady, she didn’t accept the idea that she should become one of those long-suffering, seemingly asexual widows like Betty Shabazz or Coretta Scott King.
“We weren’t together when he passed,” explains Faith, shrugging her shoulders and shaking her head. “What am I going to do? Act like we were?”
IT’S BEEN ALMOST 11 YEARS since she said “I do” to B.I.G. after a brief courtship, more than eight years since his casket took a final ride through the streets of Brooklyn. And after all this time, Faith is still hustling – working just as hard as she did before she met the man. Maybe even harder.
In many ways, Evans’s current husband has helped her move on from that phase of her life. Russaw, a former Soul Train dance who’d once worked as a Motown A&R executive and managed the R&B trio 702, helped her negotiate an exit from Bad Boy in 2003. “Puff eventually told me himself that music wasn’t his first priority anymore,” she says while glad-handing BET execs. “My record came out in the middle of his label change. Who was going to help me support it?” Now signed to Capitol Records, she’s released The First Lady, arguably her best work since her classic self-titled 1995 debut.
The first single, “Again,” is raw, heartfelt, and intensely personal. “If I gad to di it all again,” she sings in her signature choir-girl wail, “I wouldn’t take away the rain/ ‘Cause I know it made me who I am.”
The no-regrets theme could apply to many junctures in Evans’s life. She dropped out of Fordham University after one year (although she says she was on a full academic scholarship). She became an unwed mother soon after. She married Wallace before even meeting his mother. And four years ago, she shays she was found guilty of battery after a tussle with an Atlanta police officer. Beyond the facts, there’s been enough rumor and innuendo about Evans to fill an entire boxed-set of confessional songs.
The Philadelphia-based songwriting duo Carvin Haggins and Ivan Barias (CarMul), who cowrote and produced “Again,” advised Evans not to avoid her life’s tougher episodes. “People need to hear your business,” Haggins told her, “and they need to hear it from you.”
The main thing that needed to be addressed was Evans’s 2004 arrest for drug possession. In January of last year, she and Russaw were pulled over in Hapeville, Ga., for, as she explains, having an expired temporary license on their Hummer. The officer asked about the smell of marijuana coming out of the car.
“I told them my car was used in a video, and I had just gotten it back that day,” says Evans. The officers searched the car and, according to the arresting officer’s statement, “upon searching the vehicle, we discovered marijuana roaches on the center console and suspect cocaine in the passenger side door as well as a silver tin with a built-in mirror and a razor blade with further suspect cocaine.”
When asked about the incident, Evans’s answers become vague and she launches into the soliloquy that addresses everything except the facts. “Ten people see the same accident, you’re going to get seven different stories,” she says. “I heard three different reports from three different precincts….there were no containers, nothing was ever sent to a lab.”
When stopped in midsentence and asked directly what the officers did find in the car, Evans exhales sharply and rolls her eyes. “They foind a cigarette case with half a joint in it,” she says. She denies that they got caught with any cocaine in the car, and she says she has no idea why published reports would say there was.
“I’ll be the first to admit that I have experimented with drugs,” says Evans. “I don’t have to go into detail. I’ve tried a few things. Am I a drug addict? No. I’m living responsibly, not recklessly.”
In February 2004, Evans and her husband agreed to complete a 13-week drug rehabilitation program for the possession charges. Upon completion in May 2004, charges were dropped.
On the second verse of “Again,” Evans addresses the rumors that spread after her arrest. “In ATL I caught a case/ And the media tried to say/ I had a habit I couldn’t manage/ And I’m throwing my life away.”
Handling the issue in her first single was an audacious move – but not as daring as it might have been. “Actually, the original lyrics to the song were a whole lot more risqué,” says Haggins. In the first version of the verse, Evans name-checked radio shock jock Wendy Williams and mentioned old rumors about a romance with Tupac Shakur.
“Originally, it said, ‘In ATL I caught a case/ Wendy Williams tried to say/ I was an addict/ With a habit/ And I was throwing my life away’,” says Haggins. “And then it said, ‘Now all the rumors got to stop / No I didn’t have no two ‘Pacs/ Had a son that was born from my husband / Mr. Christopher Wallace’.”
The notion that she could have even been possibly carrying “two ‘Pacs,” as Biggie once rapped, stemmed from her 1995 recording session with Shakur. True to form, B.I.G.’s crack about Evans having twins was more real than most people knew. “CJ was initially twins,” says Evans. “The second sac didn’t develop.”
The year before, Tupac had been shot in the lobby of a Manhattan recording studio. He’d tell any reporter who would listen that he believed Wallace and Combs were among those responsible. Evans insists she had no idea that going to the studio with ‘Pac would be so scandalous, so suspicious, such a flat-out dumb move.
“I didn’t even know that Tupac was on Death Row,” says Evans, her voice rising. “I was used. I’m not perfect. I didn’t think it out. When I got to the studio, it just didn’t feel right. I said, Let me just do this song and get the hell out of here.”
Evans has steadfastly refuted any reports of romantic involvement with Tupac, despite his emphatic proclamations in the press and on wax. “I can clarify it,” she says once and for all. Evans leans in close to the digital recorder for emphasis. “The nigga lied on me.”
AT MATSURI, A JAPAENESE restaurant in Manhattan, Evans is talking a mile a minute. Her mannerisms are pure Jersey-girl swagger: neck swiveling, teeth sucking, and finger-pointing. And yet, she’s refined and fastidious with a sushi menu, discussing the intricacies of yellowtail shoulder with the waitress and knowingly suggesting lotus root and a spicy salmon roll to a sushi novice.
Faith Evans has come a long way from her humble beginnings when she shared a home in the Weequahic section of Newak with her grandparents and the dozens of foster children they took in over the years. Her oversized Chanel bag and diamond hoops are sure signs of that. But Evans insists that she is by no means without monetary issues. Prior to The First Lady, she had released three albums in her career: two certified platinum and one certified gold. She co-wrote and performed on the tribute to her late husband, “I’ll Be Missing You,” which has sold more than 3 million copies. But she’s still not sure if she can afford Chyna’s tuition at a prestigious private school in Santa Monica. The ultraliberal institution, where, at presstime, Chyna had yet to be accepted, educates elite Hollywood kids like the children of Barbra Streisdans and Dustin Hoffman. “It’s like college tuition!” Evans says of the more than $20,000 per year it costs to attend the upper school.
“People think that fame equals finance,” she says. “But it ain’t like that. There are perks, but it doesn’t mean sometimes I’m not trying to figure out how to pay the bills. ‘Cause we don’t get paid regularly. I may get a check every six months from BMI – it could be $2, $2,000, or $200,000. I don’t want to have to chase a check.”
And even though she is the widow of an international rap star whose last studio album sold more than 10 million copies, she can’t rely on Wallace’s estate for stability. According to Maury Winkler, an entertainment lawyer, under the laws governing Biggie’s estate, when a married person with children dies with no will, as Wallace did, the courts immediately divide his estate in half. The first half goes to his spouse; the second half goes to his children. By this formula, Evans was likely awarded 50 percent of Wallace’s estate; their son, CJ would be given 25 percent in a trust fund, and his older daughter, T’Yanna, would also have been given 25 percent in a trust fund.
Evans voluntarily gave half of her stake in Wallace’s estate to his mother. This arrangement is in sharp contrast to the drama currently surrounding the estate of deceased rapper Ol’ Dirty Bastard. Like Evans and Wallace, ODB had been separated from his wife at the time of his death. However, ODB’s estranged wife, Icelene Jones, fought for – and won – temporary control of her late husband’s estate. Reports say she also had her husband’s body cremated, allegedly to hinder future paternity tests from other children who may have claims to the estate.
Although Evans knew she would take care of Mrs. Wallace financially, she now admits that she may have gone overboard in trying to do the right thing. “To be honest, I handled it the way I thought was right at the time,” says Evans. “This is awesome who had a mother that he wanted to take care of. But just because you’re sharing profits doesn’t mean you need to shared control.” The Wallace estate governs record reissues, sample clearances, and merchandising.
When asked specifically how she should have arranged things at the time of B.I.G.’s death, Evans chooses her words carefully, and her speech becomes slow and measured. “I would have more control of the decision making,” she says, “so we wouldn’t be taken advantage of.”
BACK AT BET, EVANS AND RUSSAW say goodnight to Free and slop into a chauffeured SUV idling outside the building. Russaw is on his cell phone, admonishing a Capitol Records employee. Evans stares out her window, one hand propping up her chin, the other reaching out to touch her husband’s hand.
Faith and Todd have been together for eight years, almost as long as Biggie has been gone. When Wallace was shot, he and Evans had been estranged for two years. So it was Russaw who comforted her in her hotel room on the night of the murder. “We just talked and talked for hours, until I fell asleep,” remembers Evans. Biggie had been dead for more than a year when Evans gave birth to Russaw’s child. They married not long after. Once again, Evans seemed to be moving a little too quickly, and there were whispers that she hadn’t done her time as a widow for long enough. “We couldn’t help how we felt,” she says. “I just had to figure out the most tactful way to deal with it.”
By the time they were married, Russaw had already been functioning as a father figure to both Chyna and Christopher Jordan. “Since CJ’s been talking, Todd’s been Daddy,” says Evans. Russaw waves off any idea that raising the son of the Notorious B.I.G. may be any different than raising any other man’s son. “I talk to CJ about his dad more than anyone else in his life,” says Russaw. “CJ is very introverted. He won’t ask people a lot of questions. But he’ll ask me. Last week, he said, ‘Dad, if Puffy and Tupac were my dad’s friends, how come they never call me?’” Russaw shakes his head. “He hears ‘Pac on the radio so much, I have to reminf him that ‘Pac is dead.” And what does he tell him about Puffy? Russaw shrugs his shoulders. “I tell him that Uncle Puff is really busy. I try to make excuses for him.”
THOUGH SHE’S HAD HER MOMENTS, everything in Evans’s life is not tinged with drama, death, and despair. She’s got a wicked sense of humor and an infectious laugh. She can do a hilariously flawless British accent when wants to amuse. She makes up on-the-spot nicknames in conversation. Refuse to have a drink and you may be dubbed “Sober Sally” ; she describes herself as a “Nervous Nancy” and a “Frugal Franny” in her early days as a performer. And she has an encyclopedic knowledge of music that borders on geekdom. She memorizes liner notes and album credits and can pull out obscure musical references in seconds flat. “I could meet somebody and be like, Oh my god! You played the timbale on the 1978 record by Linda Clifford, ‘If My Friends Could See Me Now’.”
Evans has three healthy children who keep her inspired and on the move. Chyna is writing and producing music, CJ is a sports fanatic, and Joshua looks like a future performer. She chuckles when discussing Joshua, who loves the attention he receives when he’s with Mommy-the-recording-artist.
“On the red carpet at the Coach Carter premiere, he’s got his hands up like this,” she says, throwing her arms up and posing. “I had to be like, Um, Josh, can you put your hands down? They can’t see Mommy’s face.”
She’s putting the past behind her, but doesn’t hesitate to straighten out any remaining misconceptions. The conflict with one-time collaborator Mary J. Blige was based on hearsay and today is nonexistent. “Back then, I heard that she alluded to me, saying I wanted be like her,” says Evans. “It was never my goal to be like her or anyone else. But I recognize where she stands, I know that she’s done a whole lot more than I have at this point in my career.” She insists that while she and Biggie had a few physical altercations, it was not a physically abusive relationship. “That’s not my story. I wasn’t the one hiding behind shades,” she says, perhaps referring to Lil’ Kim, who was reportedly abused by B.I.G.
But even her well-documented feud with Kim is waved off dismissively. “She was a young girl, and he had her mind,” says Evans, who appears to be taking the high road. “We just happened to be in love with the same nigga. It happens. She’s now an icon in her own right, outside of Biggie.”
Who can blame Evans if she just wants the same? With a hands-on husband/manager and a son who is hip hop royalty by birth, Evans may continued to be defined by the men in her life. But it is a woman named Johnnie Mae who knows Faith best.
Evans calls Orvelt and Johnnie Mae Kennedy her grandparents, but Johnnie Mae is really her mother’s cousin. After Helen Evans, an aspiring black singer, gave birth to Faith (the father was a white musician), she sent the girl to live with the Kennedys while she got on her feet. Faith’s mother eventually lived with them in New Jersey. But when Helene got her own job and apartment, Faith decided to say with the Kennedys, who have also raised more than 100 foster children over the past 40 years. They celebrate their 50th wedding anniversary this year.
ON A WINTER AFTERNOON, two young girls play in the driveway of the place Faith once called home. A nativity scene featuring brown figurines overlooks the tiny lawn from the bay window. Orvelt Kennedy, wearing a one-piece workman’s suit and construction boots, answers the doorbell. He’s a bit uncomfortable having a reporter in his home and mumbles something about being on his way out the door. “There’s not much I can tell you,” he says, standing in front of the étagère filled with family photos, including pictures of young Faith. “I’m proud of her, I love her to death, and she loves me. That’s my baby.”
Johnnie Mae is just up the street at the very church where Evans dropped the microphone and ran away after nervously performing her first solo at the age of 4. In a back room at Emmanuel Missionary Baptist Church, Johnnie Mae is teaching a bible study class to two bored teenagers with their chins in their hands and Bibles in their laps.
Johnnie Mae is dressed in her crisp white usher’s uniform. Her hair is hard pressed into shiny ringlets. She smells warm and fragrant, like a grandmother should. She’s been through a lot with Faith. She was disappointed when she dropped out of college. She was nervous and unsure when Faith left for L.A., pregnant and on welfare. She’s cheered her every success, yet she still hopes that one day her girl will return to her roots in gospel music.
Of all the times Faye-Faye has come back home to visit Johnnie Mae remembers meeting B.I.G. most vividly. “We were having a cookout that day, and she brought him over,” she says. Faith asked her to come in the house so she could tell her something. Inside, she explained that B.I.G. was not just her date for the afternoon – he was her husband. Somehow, Johnnie Mae kept her cool.
“I wasn’t happy, because I knew she hadn’t known him that long. But I didn’t let her know that. I just welcomed him into the family. My concern was, Is this for real?” She smiles. “It was real.”
And Johnnie Mae knows, better than anyone, that in one way, Evans will always be the same woman she was on the night her husband died. “They weren’t together,” Johnnie Mae says. “But she was still in love with him.”
LESS THAN 20 MILES AWAY from her grandparents’ house, Evans is heading to her midtown Manhattan hotel to prepare for an early morning flight back to L.A. From there, she will head to Minneapolis to meet with music retailers and then return to her family. But at this moment, her mind wanders to thoughts of B.I.G. Maybe Johnnie Mae was right about her feelings for Biggie. And apparently, his death hasn’t diminished those feelings.
“It doesn’t change the impact he had on my life or the love I have for him in my heart,” she says. “It doesn’t change how much I still miss him. But I finally felt like it was time for me to move on.” And looking back sometimes helps.
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'The Ruler's Back:' Sean 'Diddy' Combs
‘The Ruler’s Back:’ Sean ‘Diddy’ Combs
'The Ruler's Back:' Sean 'Diddy' Combs
Oh, it’s a comeback all right. Thirteen rollercoaster years in the game, and SEAN “DIDDY” COMBS still won’t stop. With a new solo album, No. 1 album from Danity Kane, and explosive new records from Yung Joc and Cassie, Bad Boy Records is officially back. Diddy talks to DANYEL SMITH about the drama of being a winner…and still champion.
Written By: Danyel Smith
Photographs By: Matthias Clamer
Issue: November 2006
Google “Diddy” and among a zillion other details, you’ll find that Sean John Combs is a Scorpio. Born in 1969—the Year if the Rooster. Catholic schoolboy, with a gorgeous mom, a Baptist grandmother, and a father who was murdered when Sean was 3. Eventually acquired the name Puffy. Attended Howard University—promoted dance parties there, ran his own shuttle service—until the pull of N.Y.C. and hip hop yanked him to Uptown Records, where he was promoted to A&R director. Put together a steak of hits, including platinum debuts for Jodeci (1991’s Forever My Lady) and Mary J Blige (1992’s What’s the 411?) He got fired, then negotiated an Arista Records bankroll with which he started Bad Boy Records. There was, of course, the Notorious B.I.G.. And J.Lo. And the trial for which he was acquitted of felony gun possession and bribing a witness. That’s the bare bones.
Hang out with the guy, though, and you get the muscle, a little heart, and a sliver of his Gordian soul. His crew still calls him “Puff.” He rents hotel penthouses for meetings and dips through New York City in his bullet-gray Rolls-Royce Phantom (with driver). One of his Manhattan residences—a chic, arbitrarily furnished crash pad with two assistants, racks and racks of clothes, and fresh fruit in the kitchen—overlooks the lush south end of Central Park. Diddy sweats through his clothes when he performs , even when it’s just a taping for a Wal-Mart promo video (with driver). He stood before it one recent afternoon, on a corner in New York’s Hell’s Kitchen, teasing round-the-way kids and signing basketballs with borrowed ball points. In slacks, a white tee, and a back-on-black shell toes, Diddy could’ve been one of the hustlers gathered around the subdued spectacle of Diddy’s ride—one such in a Lincoln Navigator (with driver!) with front doors tricked out Lamborghini style. From Puff, there was almost an imperceptible nod, then a similar nod in response—a clear case of game recognizing game.
It comes down to the fact that a boy from Harlem and Mt.Vernon, New Yotk, has been making phenomenal impact on hip hop, on music, on fashion, and on the culture for almost fifteen years. His parties remain bacchanalian. His ego remains gargantuan. He is a charmer; he is profane. He talks so fast, he seems almost to stutter. People say he is wicked. They say his personality is beautiful. From different eras and areas of his life, folks call him an ass, a terror of a negotiator, a grudge-holder, a gem—plus horrifyingly manipulative, the most fun, richer than he’s supposed to be, a genius.
Right now, with Danity Kane, Joc, Cassie—it’s all about Bad Boy. You guys have had some lean years.
Before, I’d say, Yeah, we’re back. People would say, “You ain’t back, you ain’t never went nowhere.” You know what? I did go somewhere. I did lose focus. It wasn’t like I was twiddling my thumbs. I was doing so much work as a producer. I ran a marathon. I starred on Broadway. I spread myself really thin, and my music suffered. But it was a blessing…because when I came back to music, I had clarity. Even for this new album [Press Play, released October 17]—the sounds and the melodies and the musicality of it is the perfect combination of sophistication and gutter. It’s feel-good music. We had our two and half years where [Bad Boy Records] fell off a little bit. I’ll take that one. Bur I’m focused now and…I’m better than ever.
Did Puff put a bow tie on hip hop?
I was trying to show that hip hop can be true to its roots, but that doesn’t mean every day you gotta wear a do-rag and white T-shirt. [laughs because he’s wearing a do-rag and a T-shirt] I wear it every other day. But you gotta make a more gutter album before you can test my gutter. You can’t even question my gutter until you do something gutter. That lane’s locked down. I put my stamp on that. At one o’clock in the morning, they’re gonna throw on “It’s All About The Benjamins,” and you’re gonna remember. I wanted to bring diversity to the game, and the idea we could do anything. Hip Hop is supposed to be all voices. You’re supposed to be all voices. You’re supposed to be able to say exactly what’s on your mind.
The recent beef with you and 50 cent, was it real?
It was surprising to me, because we never had any bad energy. One of the things about being successful for a long time…Bad Boy Records was the first to go through the beefs [chuckels]. At Bad Boy we specialize in that.
Do you feel like—
Let me finish. Whenever people do come at me…it doesn’t really upset me right away. Because I know that I’m a man, and I know that once I see another man, we’ll have a man-to-man discussion. And ain’t nothing really that deep. So it never really got to the point where it upset me, it got to the point where I was like, I’m going to see him, and we’re going to have a conversation man-to-man. I don’t think I pose a threat to anybody—because I’m in such a unique lane. To be honest, it’s not a lane a lot of hip hop artist want to be in. My lane is celebration. My lane is entertainment. In hip hop you’re going to get tested. That’s a part of the game. I’m not immune to it. But I’ve seen the results of playing that little game—playing with the name callers—and then you get male egos involved, and crews…so with me, if it ain’t a win-win, it ain’t really happening. I’m saying, in general, as long as a nigga ain’t putting his muthafuckin’ hands on me, we’re good. He can say what-ever he fucking wants to say. I’m out here getting money. Making history. Having me on your mind? If I’m not inspiring you, you’re not receiving it the right way. ‘Cause that’s all it’s meant to be—to inspire.
You won’t let Mase record for G-Unit?
I don’t have a problem with Mase going to G Unit. I mean, we got some unfinished business to take care of. I’d love for him to got off to G Unit or whomever he wants to record for—once our business is straight. I’d never hate on him living his life and doing the deal, but I cant just erase that checks [have been written]. Everybody’s adults and professionals, and we need to handle our business. The 50 shit—it wasn’t even that big. When we talked, it was like a five minute conversation, and we moved on.
Are you in love right now?
I’ve always been in love.
Kim Porter?
She’s the type of person I’ll fall in love with everyday.
When you were involved with Jennifer—
When I was with Jennifer, I got caught up. She was fine. I had my little complaints as far as Kim.
People thought you and Jennifer were going to get married.
I couldn’t marry Jennifer. I was in love with Kim that whole time. I’d never stopped being in love with her—you can’t fall out of love with somebody who’s your friend like that. I definitely left home. I admit I left home. The thing with Jennifer and me was we were so alike. Kim and I are opposite.
Jennifer was somebody who ‘got it’?
Somebody who got it. But after that runs out, you realize you’re really just friends, and you went out, and it’s all good.
But you two went through it.
The hype can pull you in. Y’all are lookin’ good together, and it’s feelin’ good, and the relationship is genuine…but I couldn’t commit to her the way she wanted me to. Everybody who ever meets this girl winds up marrying or wanting to marry her. I couldn’t be like Cris [Judd] and Ben [Affeck] and Marc [Anthony] and all. A lot of times…you think you can leave home—Oh yeah, I’ma leave home, I’m running away, I’m out—I talked that shit. Sometimes you think if people aren’t paying attention to you the way you want, or things aren’t going the way you want, you can go.
How long have you and Kim been together?
Twelve years. She’ll say it’s eight. Kim never really sweated Jennifer. She was, Ah, you’re playin’ yourself…you’re running around with your little Puerto Rican girlfriend. You’ll be back. Kim—just always cool, calm, collected—she knew I was gonna come back, and she was right. Some people just got your number like that. I ain’t gonna lie: I’m hard to love. My hat goes off to her or anybody else who’s dealt with me, because a lot of your time and attention is really not on that person. A woman deserves to be nurtured and taken care of. Kim taught me that. She…taught me how to love. Somebody gave me multiple choices early on—having a smooth working relationship, having a personal life, or being in the music industry. I chose the music industry.
Why?
It was such an in-love thing. Like love can you make you blind, you know. Some people fall in love with something, and they don’t see anything else.
They don’t see the bad parts…
I wasn’t listenin’ to nobody. I love so much what I do so…that was the choice I made. I knew that if I was gonna be great in this, I wasn’t gonna be great in any of the other things. I had to give my all. I didn’t understand balance.
What would Kim say? You’re Kim right now.
Kim would say, That nigga’s hard to love, but I love him. She’d say beautiful things. There are a couple of songs on the album about my relationship with Kim: “Partners for Life,” a story about how I met her, and this other song called “After Love.” I’ll be in the studio playing that song for her, like, Baby, I made this song for you. She’s like, Yeah. Check this out: You don’t have to make no more songs for me. What do you could do for me is start being the best man you can be.
So you’re happy for Jennifer and Marc, and Jennifer and Marc are happy for you and Kim.
I’m happy for her. I mean, I wasn’t going to marry her, so I never had a problem with it. There was love there, but it just wasn’t this type of love. It was two ships passing in the night.
What is a girl who’s had sex with you going to say?
I’m nasty [laughs]. I ain’t gonna lie.
Let’s say, mid-‘90s? How was it then?
I was buck-fuckin’ wild. Beyond ménage a trois. Crazy—you’re twentysomething and renting the presidential suite at the Hotel Nikko [now Le Meredien] in Beverly Hills. You got the bathtub filled with champagne and chocolate-covered strawberries. You’re renting every Benz from the African guy who rented the cars in L.A. That was a wild time. Then sex became dangerous. You got to remember everything that happened with Eazy-E. Once it happened to Eazy, it was time to slow your ass down. And then all the energy you were spreading becomes a one-on-one thing. And, yeah, my girl right now is very happy. As meticulous as I am with my work, I’m even more meticulous with my lovemaking. I take much more time, and I like to do it for a long time. I like to look at my woman in her eyes and kiss her deeply. Sometimes I’m making love and she’s like, You gonna save some for the honeymoon?
Has fatherhood changed you?
Totally changed my life. And I’m having twin girls.
You look as if you’re about to cry right now.
People say, to a so-called ladies’ man or whatever, that when you have girls it changes you. So I was like, What’s God trying to tell me by giving me two girls? When I pray every morning, I thank God for showing me what He showed me while I still have a chance to enjoy myself.
The rented islands, the yachts, the private jets. People would say that’s pure enjoyment.
You can take your family out on a yacht, but if daddy’s on the top deck pacing and yelling on the phone and closing deals…I’m trying to focus on the things that are priceless, the things I should really be successful at, like being a great boyfriend.
Are you going to get married?
I would love to get married.
What’s Kim say to that?
I don’t want to make that pledge in front of God and not be able to see it all the way out. I didn’t grow up around a married family, so it’s taking me a bit longer. A lot of guys out there get married, and they still do their thing. I don’t want to get married and fail.
After dealing with acts like Heavy—who was a kind of light-skinned, more pop version of B.I.G.—what made you look at Christopher Wallace?
When I heard B.I.G., I heard an incredible artist B.I.G.’s stuff, though it was gutter, wasn’t a stretch for me because those were the things going on around me, around all of us. What drew me tom him was his artistry, his genius as a writer, the sound of his voice, his uniqueness as far as his approach to records. It was his spirit. He wasn’t a man of many words, but when he was on that mic , it was like listening to a miracle.
Tupac Shakur. First thing that comes to your head.
Genius, that’s all.
The most meaningful moment to pass between you as men—
When he came to my birthday party at [N.Y.C. nightclub] Roseland Ballroom. It became more of a meaningful moment after he passed. People don’t know we all used to hang out. Suge [Knight] used to pick me up from the airport when I’d go to L.A. You know how you have that person who comes to pick you up from the airport? Suge was the person. [We didn’t] have no car service—we’d just started getting money. And with me and Tupac, it was always a respect thing.
One of the labels you’ve been associated with competitively is Death Row Records, and recently the founder/president Suge Knight was in bankruptcy court, What do you think about that?
I have no thoughts about it…don’t have any emotion when it comes to him. It’s really none of my business. We’ve got our own lives, our own lanes. People ask a lot, because of everything that’s going on, but he’s not someone I think or know about as far as what’s going on in his personal or business life.
You always say you don’t hate on anyone—
On nobody. Hate is when you don’t give a cat his just due. We’re all cut from the same hip hop cloth…all represent each other…protect each other…because there are so many people intimidated by us now politically, economically, socially. This hip hop thing is a threat, beyond a phenomenon. If [hip hop] ever got focused…when it does get focused…it’s the moment that can change the world. We’re the bomb ass generation—but for real, we got guns and shit! You see how we can scare a muthafucker. We got tempers and we got guns and we got passion. Our passion is crazy.
Bad Boy Records is back?
We’re the last label standing. A lot of people came and gone…
Who’s come and gone?
Everybody! No disrespect, but to have a label go over ten years? You can go and sell your label—but it ain’t your label no more. To have your label exist, and you own it? Def Jam Recordings sold their label. LaFace Records sold their label. It’s hard to keep a label going. We get offers everyday to buy Bad Boy; I’m not stuck on this thing, like, I’m never going to sell it. But this is still hip hop—you’re able to pop shit: We’ve been here the longest. It’s what I’m most proud of. Through all the wars, the ups and downs, the cold times, the hot times, the rumors, the shiny suit shit, whatever—all that—we’re still standing. I’m like that old G on your block, and he still getting money. That nigga was getting money back in 68, and he still riding around in a Rolls-Royce. And you wondering, like, How in the hell is he still doin’ it? I’m the truest definition of the new Negro—rich, black, intelligent and powerful. I’m America’s worst nightmare.
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CHANGE CLOTHES—AND GO
The Notorious B.I.G. started out dressed for the streets, but Puffy & Co. turned him from ashy to classy.
Written By: Mark Allwood
In a nondescript Manhattan club one night in 1993, two future hip hop icons were in their de rigueur, ‘hood-certified garb: army fatigues and Timberland boots. Veteran New York television/radio personality Ralph McDaniels recalls the no-frills scene clearly. “I have footage of the Notorious B.I.G, and Nas at that party on rhe mic, “he says, laughing. “And there’s nothing fly about it.”
Within a year, though, Biggie had left those utilitarian duds behind for a more polished look, dressing for success before he’d even really achieved any. With guidance from Bad Boy label head Sean Combs. Biggie would go to personify hip hop’s dramatic style shift—out went the Karl Kani and the hoodies, in came the Versace and the dress shoes.”We were like corner hustlers,” explains B.I.G.’s Junior M.A.F.I.A. cohort Lil’ Cease, remembering the crew’s early days in Brooklyn’s Bed-Stuy. “But the big-time hustlers that were really moving shit, the ones we kooked up to, wore Versace or Moschino.”
Stylist Sybil Pennix helped crystalize Biggie’s—and Bad Boy’s—fashion turn around. “Puffy has a sense of style,” Pennix says. “Army fatigues were Brooklyn, but Coogi was Harlem, and that definitely came from Puffy. I exposed Biggie to designers he knew nothing about. We made B.I.G. look like a numbers man from the old days, with leathers and double-breasted jackets. That’s who he reminded us of.”
Mark Pitts, Biggie’s former manager, now Senior VP at Zomba Music Group, recalls the impetus behind the late MC’s dramatic sartorial shift. “We were trying to damn near make him a sex symbol,” he says from his Manhattan office. “I didn’t even know what a Coogi sweater was until he said it.”
Cheo Hodari Coker author of 2004’s Unbelievabl: The Life, Death, and Afterlife of The Notorious B.I.G. (VIBE Books), says the memorably glossy video for 1995’s “Big Poppa” cemented Biggie’s style change and gave cues to the rest of the world that with Biggie in a leather blazer, cashmere turtleneck, and a Kangol cap, the culture would never be the same. “It was the line in the sand in terms of ghetto fabulousness,” says Coker. “Before then it was about trying to look like you were literally two seconds off the block. After the video people started dressing up.”
Soon B.I.G.’s hyperrealistic lyricism and menacing vocals became almost as silky as his new clothes. Producer Easy Mo Bee, who worked on both Ready to Die (1994) and the follow-up, Life After Death (1997), remembers recording brazen tracks like “Machine Gun Funk” and “Big Poppa.” “I don’t know if Puffy pulled him to the side,” says Mo Bee, “but when he made of ‘Big Poppa,’ all of a sudden his voice calmed down. That became his new vocal style. “It was a sound, like his look, that he’d finally grown into.
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BEEN AROUND THE WORLD
Before Cool & Dre or the Neptunes, there were the Hitmen. On one legendary trip, they earned their name.
Written By: Gregory Johnson
It was February 1996—the pre—“Diddy” days. Sean “Puff Daddy” Combs sat in Daddy’s House (his Manhattan recording studio) one wintry evening and weighed some sobering realities: Bad Boy Records, the label arguably responsible for fueling the East Coast hip hop’s commercial prominence—led by the Notorious B.I.G.’s landmark, multiplatinum debut, Ready to Die (1994)—was facing and an uncertain future.
Negotiations over the renewal of his label deal with Arista Records were at a standstill, and tensions were escalating with West Coast competitor Death Row Records. Looking to bolster his position, Combs collected top producers—Deric “D-Dot” Angelettie, Ron “Amen-Ra” Lawrence, Nasheim Myrick, Carlos “Six July” Broady, and Steven “Stevie J” Jordan, who were known as the Hitmen—and gave them notice: He was whisking them off to Trinidad for a four-week working vacation. Their goal? Complete radio dominance.
“Puffy said in order to get focused, we needed to get away,” says Lawrence.. “He wanted every song on the airwaves to be Bad Boy record—all day.”
By early March the Hitmen arrived in Port-of-Spain and settled into Carribean Sound Basin Sound, which boasted guarded gates, swimming pools, a basketball court, and villas with chefs on call. There were other temptations too: “Always beautiful Trini groupies hanging around,” says Lawrence.
But Puff never let his troops forget their purpose. “We didn’t go to see the Trinidian sun or the women,” says Myrck. “ We were working for the Notorious B.I.G. That whole Life After Death album was our motivation.” Also flying in to the help were Faith Evans, R&B group 112, and the late songstress Aaliyah. “Who can say they’ve been on the beach with Aaliyah in Trinidad?” says Stevie J beaming.
Every day in the studio brought fresh combinations of ideas, spurred by Hitmen’s diverse skill set: Lawrence polished sound revealed a Dr. Dre influence, Myrick and Broady diced up grimy samples with their MPC3000 and SP1200 drum machines, and Stevie J had proficiency on ten instruments. Supervising the group were D-Dot and Puffy, whose collective talent for fine-tuning beats into hits was then largely unparalleled. Quickly, Biggie masterpieces began to take shape. Says Broady, “We came with ‘My Downfall’ then Dot comes with ‘Hypnotized,’ and then [puffy] and Daron Jones [from 112] come with ‘#!@ You Tonight.’ It was always a friendly competition”
Within weeks the Hitmen had amassed over 100 songs—collected on the “Trini-DAT,” as the Hitmen called it—that became the foundation for Biggie’s Life After Death (which included those songs as well as gems like “Notorius Thugs” and “Mo Money Mo Problems”) and provided key contributions to Mase’s 1997 Harlem World. (“What You Want”) the LOX’s 1998 Money, Power & Respect (“Money, Power & Respect”), and Puff’s 1997 solo debut, No Way Out (“Can’t Nobody Hold Me Down”)
All together, it was enough musical ammunition to help Puff lock down a reported $10 million agreement later that year. Backed by the Hitmen, Bad Boy would go on to release three multiplatinum and three gold records in the next two years—a nearly peerless streak, Though the Hitmen all continue to produce independently, they’ve never matched their incredible Trinidadian output. “You don’t get a chance like that,” says Broady, “ but once in a lifetime.”
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Bad Boy’s Greatest Misses
For years Diddy told fans to “take that.” Here, are a few stinkers we wish he’s kept.
PUFF DADDY’s FOREVER (1999)
If the hook to your single is “Public Enemy No.1,” well…
FUZZBUBBLE
After “It’s All About the Benjamins” (Remix),” this contrived rock act went on to headline Poserpalooza.
THE NOTORIOUS B.I.G.’s BORN AGAIN (1999) and DUETS: THE FINAL CHAPTER (2005)
It is possible for the 300-plus- pound great to roll over in his grave? Twice?
DREAM
It Was All a Dream. No, really. Just a dream.
CHERI DENNIA
Bad Boy’s dark-haired stepchild has been pushed back more times than we can count.
KAIN
Diddy’s “Eminem” turned out to be Bad Boy’s great white nope.
DA BAND
Watchable for sixteen rounds, maybe. But listenable for sixteen bars? Not so much.
MASE’S WELCOME BACK (2004)
We’d rather wear a crown of thorns than listen to Rev. Betha’s comeback .
BOYZ N DA HOOD
Aside from Young Jeezy, these trap stars should’ve keep their traps shut.
NOTORIOUS MAGAZINE
Leave it to the pros, Puff.
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Mo Money, No Problems: A financial history of Bad Boy Worldwide Entertainment Group
Written By: Robert LaFranco
In January 1998 Sean Combs offered this insight into his business philosophy. “My friends call me the Black Sinatra,” he said over a Sunday dinner of pancakes, eggs and an entire Styrofoam container of bacon. “ He went through his ups and downs. People said he was connected to a bad crowd. But he came back on top. No matter what anyone says, thirty years from now I’m gonna still be in the game.”
Soon thereafter his business hubris seemed ridiculously exaggerated. His sophomore solo release, Forever, critically bombed; his top stars had either died or left his label, Bad Boy Records; and the following year Combs was swamped by a myriad of court cases. But in 2006 his businesses—now including music, the Sean John fashion line, a licensed fragrance, a restaurant chain, a marketing business, and TV and film production company—show a man who is indeed a Sinatra like survivor. Here, a timeline of Comb’s business history:
1998-99: After selling approximately 20 million units since Bad Boy’s inception in 1994. Diddy pockets $55 million from partner Arista Records. His label reportedly worth an estimated $300 million. Comb’s net worth: under $100 million.
2000: Bad Boy Records has a truly successful year, with albums from the Notorious B.I.G. (Born Again) and Carl Thomas (Emotional) helping to move a collected 8 million units. Sean John retail sales are estimated at $30 million.
2001: Comb’s struggling label has just two million certified album sales, the beginning of a protracted slump. But while music lags, fashion ascends: Sean John sale close in on $20 million.
2002: Comb’s produces the second season of the popular MTV reality show Making the Band . The rag-tag winners, dubbed the “Da Band,” eventually hit gold with their debut, Too Hot for T.V.
2003: Combs leaves Arista under a cloud of low sales, but lands—with his master recordings, a catalogue of more than 800 songs—at Universal Music Group. The deal reportedly nets him just under $20 million. With retail sales at $325 million, Sean John continues to thrive. Comb’s reported net worth: over $290 million.
2004: Outside production helps maintain P.Diddy’s status as a musical force, with credits that include B2K’s “Bump, Bump, Bump” and Britney Spear’s “The Answer” With a six-figure endorsement deal from Pepsi, a top producer’s fee of around $150,000 per track, and television producer fees for Making the Band , Combs ranks as one of America’s top—earning music celebrities. His annual net income is estimated at between $10 and $20 million .
2005: Sells half of Bad Boy Records to Warner Music Group for $30 million. Diddy produces another MTV hit, Run’s House, and launches Unforgivable, an Estee Lauder fragrance that almost instantly becomes the best selling colognes in the country, adding $10 million in revenue to Sean John.
2006: A musical comeback? The self-titled debut of Making The Band’s Danity Kane hits number one on the Nielsen SoundScan charts, and albums by Yung Joc and Cassie outperform expectations. Sean John retail sales are said to be over $400 million. Bad Boy’s worldwide to business generate close to $250 million. Sean Comb’s estimated net worth: well over $315 million.
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My Fair Lady: Janelle Monae On Style, Sexuality, And Self-Driven Revelation
My Fair Lady: Janelle Monae On Style, Sexuality, And Self-Driven Revelation
My Fair Lady: Janelle Monae On Style, Sexuality, And Self-Driven Revelation
When it comes to sophistication and conquering R&B, no one knows the game better than Janelle Monáe. This singer-phenom is a force of nature.
Written By: Deena Campbell
Photographs By: Erin Patrice O’Brien
Issue: August 2013
When you hear the name “Janelle Monáe,” pleasant descriptors come to mind—drama-free, beautiful, talented—and for the most part, what you see is what you get. But as she sashays into a brightly lit New York studio for our August cover shoot on a warm afternoon, a new set of adjectives arise—feline, intriguing, powerful.
Navigating the chaos surrounding the stark-white studio, she embodies the muse for her upcoming fourth album, The Electric Lady, which drops September 10th. “An electric lady,” says the 27-year-old, Kansas City-bred singer, “is quirky, unafraid, epic and ‘nicety’—that’s when you’re being nice and nasty, noble and naughty, all at the same damn time.”
Her new album is a hodgepodge of electric heavy-hitters, including Prince, Esperanza Spalding, Miquel, and Solange, and delves further into the exploits of Cindi Mayweather, the android heroine of her first EP Metropolis. The Electric Lady serves as Suite IV and V of her sci-fi saga and where Cindi learns more about herself. Much like her cosmic counterpart, Janelle, too, has ripened over time.
That might have something to do with her upbringing. Janelle comes from a working-class family that was backboned by her grandmother, a former Mississippi sharecropper and a mother who worked as a janitor. Her father was a garbage truck driver who struggled with drug addiction, and after years of seeing its negative effects, Janelle moved to Atlanta where she self-produced her demo, Janelle Monáe: The Audition. Grinding is in her genes.
“I’ve evolved,” says an excited Janelle. “When you realize it’s your responsibility to be a leader and create the world that you want to see, you have to do it. It’s my responsibility to create music and come up with ideas that keep my community first.” Her personal community includes almost a half million Twitter and Instagram followers—all of whom are waiting with bated breath for The Electric Lady to surface.
I ask a question from @EssKayGA : “Have you considered releasing an all-rap mixtape?” Janelle seems excited at the prospect. “I’m flattered that people wonder that,” she says, smiling. “I love rap music, and I love hip-hop. I use rap as a way to communicate [and tell a story]. Yes, I will keep that in my thoughts.”
While her philosophy is grounded in innovation, style-wise, Janelle hasn’t achieved a myriad of transformations. Her popular tuxedo uniform pays homage to the working-class woman; but she did morph into a rocker chick for her recent “Dance Apocalyptic” video—a total 180 degrees from her norm. Our Instagram follower @christalbaybee noticed her makeover and asked, “Janelle! Your look in the “Dance Apocalyptic” video is SO different from your usual look. What inspired the change?”
Without hesitation Janelle replies, “I was inspired to create a female rock star. I think an electric lady isn’t to be marginalized. As the narrator and creator of these characters, I have lived by not making myself a slave to my own interpretations of who I am or a slave to your interpretations or anybody’s interpretations of who I am.”
No one knows Janelle’s style better than her stylist, Maeve Reilly who crafted looks for all of Janelle’s recent red carpet appearances, including the all-white Dolce & Gabbana suit she wore to the 2013 BET awards. “Janelle isn’t trendy,” says Maeve. “Tailoring is most important for her. She knows what she likes and she knows what fits. She’s just a classy lady with a great sense of style.”
Her look on set is a fashionista’s wet dream. She steps out of the dressing room in a sparkled Catherine Malandrino jacket that’s complimented with black TopShop pants and Chanel fingerless gloves. Later on, she punctuates her style with snakeskin Christian Louboutins and exquisite broaches. Could she be anymore stunning? A true CoverGirl, Janelle wore the beauty brands lipsticks (Hot 305 and Spellbound 325) and bronzer (Ebony) to mimic a look inspired by the late Dorothy Dandridge.
“What’s it like to be one of the hottest CoverGirl models ever?” I quote our Facebook fan, Kirista Sellers . Honored, Janelle replies, “Thank you! I feel privileged to stand alongside strong women like Ellen DeGeneres, Pink, Sophia Vergara, and Queen Latifah. We come in many shapes and sizes, colors. CoverGirl inspires young girls to dream big and say ‘I can be a CoverGirl too.’”
Her beauty may be blown up on billboards, but her love life is one thing that is definitely not on display. She admits she only dates passionate androids who are smart, idealistic, and funny; however, most of her love life is protected by a well-oiled privacy machine. “An android is my preference,” Janelle says coyly. “Two androids and a cyborg. I’m someone who sees your spirit and soul. I love passionate androids; one that knows exactly what it’s going to do in life. I like an android who knows how to handle and support an electric lady’s dreams and wings when it’s time to fly.”
@brialovesmj bravely questioned, “When are you going to have kids?” After a quick pause, she replies. “When the time is right, everything is about timing. But, right now I’m giving birth to this album.”
And she is—complete with midwife Erykah Badu who is not only featured on “Q.U.E.E.N,” but is also one of her best friends. “‘Q.U.E.E.N’ really developed from a deep conversation Erykah and I were having about a woman’s place in the world. And how we were expected to be freaks and muses and virgin goddesses all at the same time by patriarchal cultures and religions.”
Unfortunately, not all female artists remain relevant while steering clear of sexually-laced lyrics in the midst of a violent society. Janelle’s explanation? She uses her voice as a weapon, and empowers us to use her art as a medicinal treatment. An electric lady indeed.
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Diddy's Commission: Welcome To The Darkside
Diddy’s Commission: Welcome To The Darkside
Diddy's Commission: Welcome To The Darkside
TABLE FOR ONE: After being taunted by 50 Cent, Sabotaged by a mind-fucking journalist, and labeled a crook by industry skeptics, has Sean “Diddy” Combs had enough of the spotlight?
Written By: Jermaine Hall
Issue: July 2010
YOU EVER WATCH a control freak mellow out? It’s fascinating. When said micromanager is Sean “Diddy “ Combs, it’s an enlightening ordeal altogether. Sitting at trendy Chinies cuisine eatery Phillippe Chow in New York City, two days before LeBron James announces that he’s taking his show to South Beach, Combs has talking points: impact and legacy. “This ain’t a regular run,” says Combs of his two-decade laundry list of accomplishments. “I’m saying that in the most humble way possible. I’m me and I’m seeing it. Most times the impact of what you do, you don’t even live to see it.”
He’s the only patron seated for the evening, lounging at a table that comfortably seats eight. This is clearly a Sean John zine. His voice remains even, but the arrogance skyrockets. “It trickles over into sports. It goes into the way the free agent negotiations are going. [Athletes] have that belief. But that level of confidence as a Black businessman wasn’t really there. Unforgivable swagger. That shit wasn’t there.”
Translation: Sean believes that his ambition has been infectious. In his “humble” opinion, his drive has taught the have-nots that not only can they have, but they can be gluttonous and acquire wealth rather than riches. Will it ruin his day if people don’t agree? Not really. But he’d still like the legacy to be accurately documented. His reactionary reflexes have given way to him thinking long term, which could be why he’s unfazed by trivial shots like 50 Cent’s claims of having nude pictures of his artist Cassie. He’s more interested in guiding careers – Rick Ross, Janelle Monae, Red Cafe and Dirty Money, among them. And really, he’d like to do square biz and have your kids’ kids respect him like his contemporaries admire Wall Street gurr Warren Buffet. That would truly be money in the bank. In the meantime, he wants to mellow with a plate of chicken satay and talk Diddy legacy.
VIBE: You have said that rap’s heavyweight class consisted of Jay-Z, Kanye West, Lil Wayne and Drake. Do you still believe that?
Diddy: Definitely. I feel like Drake is somebody that entered professionally in the heavyweight division. He didn’t come in as a middleweight, he came in as a heabyweight. He’s gonna be a force to be reckoned with for a while. He is the definition of a new age musical rapper … going forward a lot of rap artists are going to have [singing and rapping] in their repertoire.
What’s the ranking in that heavyweight division?
Jay, Kanye, Wayne and Drake.
Jay still No. 1?
Hands down as far as worldwide impact and due to his last album [The Blueprint 3]. He’s moved up in the rankings.
People don’t realize that you two are friends and not just industry acquaintances.
Over the years as we’ve grown, Jay and I have needed each other. We’ve needed to be able to pick up the phone and call somebody that can understand what each other was going through. We needed each other to motivate each other, we needed each other to push each other. We needed each other to support each other and also to challenge each other. He’s definitely been a great friend to me . There’s never been anything that I’ve asked him to do or he’s asked me to do that we really haven’t done for each other.
Give an example of when you had to pick up the phone and call Jay for assistance.
I wanted to do something game-changing with Sean John. And I just picked his brain. I did [a fashion line] before him but I think that business-wise he did a lot of things better than me. He picked the right time to get out and get his check, to sell his company. We sat on the phone and talked about it – put our egos in our pockets. I didn’t see Sean John versus Roc-A-Wear. I just saw that my man over here is doing it [and I had] a couple of offers for Sean John. It was a beautiful conversation, ‘cause we’re sitting down at this restaurant and we’re talking about apparel. We’re not just talking about music. It was a beautiful moment. Two quarter-of-a-billion dollar companies – just getting advice from your competitor. It was something that you heard rich White boys do.
Dr. Dre said that the last beat that floored him was “All About The Benjamins.” How does that make you feel?
It’s humbling. I was in the studio with Dre the other day. He started working on a record for me. Watching him as a producer is watching greatness. We had a lot of similar traits. It was like looking in the mirror. He would ask questions like, “How you feel about this?” People don’t really understand true producers want to know how you feel about things. We are some of the most observant people on the planet.
You’re a lot more into the music now than the last time we spoke.
I was waiting to get a lot of inspiration from the outside and it just wasn’t coming. And I’m not knocking anyone’s hustle that’s out htere. I just come from musical history that musically people gave more of themselves … I was able to go back and listen to all the great records that I made. I ain’t do it on purpose. Like sometimes I’d be in a club and the DJ was just throwing tributes and would go deep in the crates. I would be like, “Damn, I forgot that I made that one.” It just gave me a deep connection and another level of confidence for me to do me.
Are you feeling more comfortable writing on your own?
Yeah. I learned a lot more. I feel a lot more confident and free. On this album I wrote like maybe two or three records by myself. But I still like writing with somebody. It helps me. Not using it as a crutch, but I get better results from co-writing; having my own feelings and thoughts, and, you know, getting some help with it. I love the feeling of collaboration, community in the studio. I don’t like being the mad scientist and being in the room by myself.
Are you happy with where Dirty Monet is right now?
I felt the first time we earned our name, or people began to understand, was at the BET Awards. You tell that … when Dirty Money was a trending topic [on Twitter]. Sometimes it just takes time, but you got to hold to your beliefs because you know something that the rest of the world don’t know.
You’re managing Rick Ross now. Did you think that he was underperforming as a brand?
I saw that he was ready to go when he the “Angels” remix. I saw that he was ready to start to really dig deep. I definitely think he’s a brand that is way bigger than he is … the same thing with Nicki [Minaj].
What is Ross’s best quality?
His choice in beats. He is one of the best at choosing music. He doesn’t make stereotypical music for the South. He’s a very unique rapper from Miami. Ross is like that cat who is from the South that spends time in New York, spends time in Paris, London. Has a crib in Malibu. He has a very wordly point of view. And the way he talks about the streets metaphorically, it feels like soul music. It’s not like he’s glorifying street life of the South. He’s really found the tone in his voice.
You know, people are upset over the comparisons to The Notorious B.I.G.
When I think of him or look at him, I don’t think of Big. I think it was my fault in a way, ‘cause I know how the blogs work. I said when he did the “Angels” remix, I said I can fell you channeling the spirit of Big because his approach to the record was the way Big would have approached it. But that was not a comparison to him and Big. But that was what I said and everyone just ran with it.
Is Nicki Minaj that good, or is she benefiting from a barren field?
She’s really that good. To be honest, she’s really holding back.
Are the comments from Lil’ Kim about Nicki disheartening?
When I heard he say what she said, it didn’t really affect me. I didn’t get mad at her or anything like that. I knew how she felt. I ain’t agree with it. But also I know the motivation. I know that people say, “Oh, he’s trying to get a new Lil’ Kim.” I guess people will see me in time. Yeah, Nicki’s had flavored wigs on, but besides that it ain’t even the same approach to the writing.
How are they different in respect to writing?
It’s just a different approach. You just have to listen to it. Kim is real Brooklyn Biggie. She reminds you of a female B.I.G. You could tell she’s Biggie’s artist. She represents that well. Nicki really sounds like a Young Money artist.
How is your temper these days?
My temper?
| i don't know |
First commercially available as a toothbrush (1938), Nylon is a thermoplastic material trademarked by what company? | Nylon
N
Nylon
Nylon is a generic designation for a family of synthetic polymers known generically as polyamides and first produced on February 28, 1935 by Wallace Carothers at DuPont. Nylon is one of the most commonly used polymers.
Overview
Nylon is a thermoplastic silky material, first used commercially in a nylon- bristled toothbrush (1938), followed more famously by women's stockings ("nylons"; 1940). It is made of repeating units linked by peptide bonds (another name for amide bonds ) and is frequently referred to as polyamide (PA). Nylon was the first commercially successful synthetic polymer. There are two common methods of making nylon for fiber applications. In one approach, molecules with an acid (COOH) group on each end are reacted with molecules containing amine (NH2) groups on each end. The resulting nylon is named on the basis of the number of carbon atoms separating the two acid groups and the two amines. These are formed into monomers of intermediate molecular weight , which are then reacted to form long polymer chains.
Nylon was intended to be a synthetic replacement for silk and substituted for it in many different products after silk became scarce during World War II . It replaced silk in military applications such as parachutes and flak vests, and was used in many types of vehicle tires.
Nylon fibers are used in many applications, including fabrics, bridal veils, carpets, musical strings, and rope .
Solid nylon is used for mechanical parts such as machine screws , gears and other low- to medium-stress components previously cast in metal. Engineering-grade nylon is processed by extrusion, casting, and injection molding. Solid nylon is used in hair combs. Type 6/6 Nylon 101 is the most common commercial grade of nylon, and Nylon 6 is the most common commercial grade of molded nylon. Nylon is available in glass-filled variants which increase structural and impact strength and rigidity, and molybdenum sulfide-filled variants which increase lubricity .
Aramids are another type of polyamide with quite different chain structures which include aromatic groups in the main chain. Such polymers make excellent ballistic fibres.
Chemistry
Nylons are condensation copolymers formed by reacting equal parts of a diamine and a dicarboxylic acid, so that peptide bonds form at both ends of each monomer in a process analogous to polypeptide biopolymers . Chemical elements included are carbon , hydrogen , nitrogen , and oxygen . The numerical suffix specifies the numbers of carbons donated by the monomers; the diamine first and the diacid second. The most common variant is nylon 6-6 which refers to the fact that the diamine (hexamethylene diamine) and the diacid ( adipic acid ) each donate 6 carbons to the polymer chain. As with other regular copolymers like polyesters and polyurethanes , the "repeating unit" consists of one of each monomer, so that they alternate in the chain. Since each monomer in this copolymer has the same reactive group on both ends, the direction of the amide bond reverses between each monomer, unlike natural polyamide proteins which have overall directionality: C terminal → N terminal. In the laboratory, nylon 6-6 can also be made using adipoyl chloride instead of adipic. It is difficult to get the proportions exactly correct, and deviations can lead to chain termination at molecular weights less than a desirable 10,000 daltons ( u ). To overcome this problem, a crystalline , solid "nylon salt " can be formed at room temperature , using an exact 1:1 ratio of the acid and the base to neutralize each other. Heated to 285 °C, the salt reacts to form nylon polymer. Above 20,000 daltons, it is impossible to spin the chains into yarn , so to combat this, some acetic acid is added to react with a free amine end group during polymer elongation to limit the molecular weight. In practice, and especially for 6,6, the monomers are often combined in a water solution. The water used to make the solution is evaporated under controlled conditions, and the increasing concentration of "salt" is polymerized to the final molecular weight.
DuPont patented nylon 6,6, so in order to compete, other companies (particularly the German BASF) developed the homopolymer nylon 6, or polycaprolactam — not a condensation polymer, but formed by a ring-opening polymerization (alternatively made by polymerizing aminocaproic acid ). The peptide bond within the caprolactam is broken with the exposed active groups on each side being incorporated into two new bonds as the monomer becomes part of the polymer backbone. In this case, all amide bonds lie in the same direction, but the properties of nylon 6 are sometimes indistinguishable from those of nylon 6,6 — except for melt temperature (N6 is lower) and some fiber properties in products like carpets and textiles. There is also nylon 9.
Nylon 5,10, made from pentamethylene diamine and sebacic acid , was studied by Carothers even before nylon 6,6 and has superior properties, but is more expensive to make. In keeping with this naming convention, "nylon 6,12" (N-6,12) or "PA-6,12" is a copolymer of a 6C diamine and a 12C diacid. Similarly for N-5,10 N-6,11; N-10,12, etc. Other nylons include copolymerized dicarboxylic acid/diamine products that are not based upon the monomers listed above. For example, some aromatic nylons are polymerized with the addition of diacids like terephthalic acid (→ Kevlar) or isophthalic acid (→ Nomex), more commonly associated with polyesters. There are copolymers of N-6,6/N6; copolymers of N-6,6/N-6/N-12; and others. Because of the way polyamides are formed, nylon would seem to be limited to unbranched, straight chains. But "star" branched nylon can be produced by the condensation of dicarboxylic acids with polyamines having three or more amino groups .
The general reaction is:
A molecule of water is given off and the nylon is formed. Its properties are determined by the R and R' groups in the monomers. In nylon 6,6, R' = 6C and R = 4C alkanes , but one also has to include the two carboxyl carbons in the diacid to get the number it donates to the chain. In Kevlar, both R and R' are benzene rings.
Nylon fiber
The Federal Trade Commission 's definition for Nylon Fiber: A manufactured fiber in which the fiber forming substance is a long-chain synthetic polyamide in which less than 85% of the amide-linkages are attached directly (-CO-NH-) to two aliphatic groups.
A synthetic thermoplastic fiber (Nylon melts/glazes easily at relatively low temperatures)
Round, smooth, and shiny filament fibers
cross sections can be either
trilobal to imitate silk
multilobal to increase staple like appearance and hand
Its most widely used structures are multifilament, monofilament, staple or tow and is available as partially drawn or as finished filaments.
Regular nylon has a round cross section and is perfectly uniform. The filaments are generally completely transparent unless they have been delustered or solution dyed. Thus, they are microscopically recognized as glass rods.
Molecular chains of nylon are long and straight variations but have no side chains or linkages.
Cold drawing (step 18 on the model) can align the chains so they are oriented with the lengthwise direction and are highly crystalline.
Nylon is related chemically to the protein fibers silk and wool.
They both have similar dye sites but nylon has many fewer dye sites than wool.
Concepts of nylon production
The first approach: combining molecules with an acid (COOH) group on each end are reacted with two chemicals that contain amine (NH2) groups on each end.
This process creates nylon 6,6, made of hexamethylene diamine with six carbon atoms and acidipic acid, as well as six carbon atoms.
The second approach: a compound has an acid at one end and an amine at the other and is polymerized to form a chain with repeating units of (-NH-[CH2]n-CO-)x.
In other words, nylon 6 is made from a single six-carbon substance called caprolactam.
In this equation, if n=5, then nylon 6 is the assigned name. (may also be referred to as polymer)
Nylon 6,6 Pleats and creases can be heat-set at higher temperatures
More compact molecular structure
Better weathering properties; better sunlight resistance
Softer "Hand"
Higher melting point (256°C)
Superior colorfastness
Nylon 6 More rapid moisture absorption
Easy to dye, more readily fades
Greater elasticity and elastic recovery
Higher impact resistance
Producers The producers of nylon include: Honeywell Nylon Inc., Invista, Wellman Inc. among many others. The DuPont Company, is the most famous pioneer of the nylon we know today.
Characteristics
Variation of luster: nylon has the ability to be very lustrous, semilustrous or dull.
Durability: its high tenacity fibers are used for seatbelts, tire cords, ballistic cloth and other uses.
High elongation
Highly resilient (nylon fabrics are heat-set)
Paved the way for easy-care garments
High resistance to:
Used in carpets and nylon stockings
Melts instead of burning
Used in many military applications
Good specific strength
Bulk properties
Above their melting temperatures, Tm, thermoplastics like nylon are amorphous solids or viscous fluids in which the chains approximate random coils. Below Tm, amorphous regions alternate with regions which are lamellar crystals.[http://aml.arizona.edu/classes/mse222/1998/nylon66/mse222.htm] The amorphous regions contribute elasticity and the crystalline regions contribute strength and rigidity. The planar amide (-CO-NH-) groups are very polar, so nylon forms multiple hydrogen bonds among adjacent strands. Because the nylon backbone is so regular and symmetrical, especially if all the amide bonds are in the trans configuration, nylons often have high crystallinity and make excellent fibers. The amount of crystallinity depends on the details of formation, as well as on the kind of nylon. Apparently it can never be quenched from a melt as a completely amorphous solid.
Nylon 6,6 can have multiple parallel strands aligned with their neighboring peptide bonds at coordinated separations of exactly 6 and 4 carbons for considerable lengths, so the carbonyl oxygens and amide hydrogens can line up to form interchain hydrogen bonds repeatedly, without interruption. Nylon 5,10 can have coordinated runs of 5 and 8 carbons. Thus parallel (but not antiparallel) strands can participate in extended, unbroken, multi-chain β-pleated sheets , a strong and tough supermolecular structure similar to that found in natural silk fibroin and the β-keratins in feathers . (Proteins have only an amino acid α-carbon separating sequential -CO-NH- groups.) Nylon 6 will form uninterrupted H-bonded sheets with mixed directionalities, but the β-sheet wrinkling is somewhat different. The three-dimensional disposition of each alkane hydrocarbon chain depends on rotations about the 109.47° tetrahedral bonds of singly-bonded carbon atoms.
When extruded into fibers through pores in an industrial spinneret, the individual polymer chains tend to align because of viscous flow . If subjected to cold drawing afterwards, the fibers align further, increasing their crystallinity, and the material acquires additional tensile strength .[http://www.chemheritage.org/EducationalServices/nylon/chem/cold.html] In practice, nylon fibers are most often drawn using heated rolls at high speeds.
Block nylon tends to be less crystalline, except near the surfaces due to shearing stresses during formation. Nylon is clear and colorless , or milky, but is easily dyed . Multistranded nylon cord and rope is slippery and tends to unravel. The ends can be melted and fused with a heat source such as a flame or electrode to prevent this.
When dry, polyamide is a good electrical insulator. However, polyamide is hygroscopic . The absorption of water will change some of the material 's properties such as its electrical resistance . Nylon is less absorbent than wool or cotton.
Historical uses
Bill Pittendreigh, DuPont, and other individuals and corporations worked diligently during the first few months of World War II to find a way to replace Asian silk and hemp with nylon in parachutes. It was also used to make tires , tents , ropes, ponchos , and other military supplies. It was even used in the production of a high-grade paper for U.S. currency. At the outset of the war, cotton accounted for more than 80% of all fibers used and manufactured, and wool fibers accounted for the remaining 20%. By August 1945, manufactured fibers had taken a market share of 25% and cotton had dropped.
Some of the terpolymers based upon nylon are used every day in packaging. Nylon has been used for meat wrappings and sausage sheaths.
Use in composites
Nylon can be used as the matrix material in composite materials , with reinforcing fibres like glass or carbon fiber, and has a higher density than pure nylon. Such thermoplastic composites (25% glass fibre) are frequently used in car components next to the engine, such as intake manifolds, where the good heat resistance of such materials makes them feasible competitors to metals.
Hydrolysis and degradation
All nylons are susceptible to hydrolysis, especially by strong acids, a reaction essentially the reverse of the synthetic reaction shown above. The molecular weight of nylon products so attacked drops fast, and cracks form quickly at the affected zones. Lower members of the nylons (such as nylon 6) are affected more than higher members such as nylon 12. This means that nylon parts cannot be used in contact with sulfuric acid for example, such as the electrolyte used in lead-acid batteries. When being molded, nylon must be dried to prevent hydrolysis in the molding machine barrel since water at high temperatures can also degrade the polymer. The reaction is of the type
Incineration and Recycling
Various nylons break down in fire and form hazardous smoke, and toxic fumes or ash, typically containing Hydrogen Cyanide. Incinerating nylons to recover the high energy used to create them, is usually expensive, so most nylons reach the garbage dumps, decaying very slowly. Some recycling is done on nylon, usually creating pellets for reuse in the industry, but this is done at a comparatively much lower scale.
Etymology
In 1940, John W. Eckelberry of DuPont stated that the letters "nyl" were arbitrary and the "on" was copied from the suffixes of other fibers such as cotton and rayon . A later publication by DuPont explained that the name was originally intended to be "No-Run" ("run" meaning "unravel"), but was modified to avoid making such an unjustified claim and to make the word sound better. The story goes that Carothers changed one letter at a time until DuPont's management was satisfied..
An apocryphal tale is that Nylon is a conflation of "New York" and "London". Equally spurious is that the name stands for "Now You've Lost, Old Nippon" referring to the supposed loss of demand for Japanese silk. (Wikipedia)
| DuPont |
March 26, 2000 saw the implosion, by Controlled Demolitions, Inc, of what structure, the largest building, by volume, ever demolished by implosion? | Nylon - wikidoc
Nylon
374° F -663° F
Nylon is a generic designation for a family of synthetic polymers first produced on February 28 , 1935 by Wallace Carothers at DuPont .Nylon is one one of the most common polymers used as a fiber.
Contents
10 External links
Overview
Nylon is a thermoplastic silky material, first used commercially in a nylon- bristled toothbrush (1938), followed more famously by women's “nylons” stockings (1940). It is made of repeating units linked by peptide bonds (another name for amide bonds ) and is frequently referred to as polyamide (PA). Nylon was the first commercially successful polymer and the first synthetic fiber to be made entirely from coal , water and air. These are formed into monomers of intermediate molecular weight , which are then reacted to form long polymer chains. It was intended to be a synthetic replacement for silk and substituted for it in parachutes and also making things like ropes, flak vests, vehicle tires, combat uniforms and many other military uses after the United States entered World War II in 1941, making stockings hard to find until the war's end. Nylon fibers are now used in fabrics , bridal veils, carpets, guitar strings and ropes , and solid nylon is used for mechanical parts, drumstick tips and as an engineering material. Engineering grade Nylon is processed by extrusion, casting & injection molding . Type 6/6 Nylon 101 is the most common commercial grade of Nylon, and Nylon 6 is the most common commercial grade of cast Nylon.
Chemistry
Nylons are condensation copolymers formed by reacting equal parts of a diamine and a dicarboxylic acid , so that peptide bonds form at both ends of each monomer in a process analogous to polypeptide biopolymers . The numerical suffix specifies the numbers of carbons donated by the monomers; the diamine first and the diacid second. The most common variant is nylon 6-6 which refers to the fact that the diamine ( hexamethylene diamine ) and the diacid ( adipic acid ) each donate 6 carbons to the polymer chain. As with other regular copolymers like polyesters and polyurethanes , the "repeating unit" consists of one of each monomer, so that they alternate in the chain. Since each monomer in this copolymer has the same reactive group on both ends, the direction of the amide bond reverses between each monomer, unlike natural polyamide proteins which have overall directionality: C terminal → N terminal . In the laboratory, nylon 6,6 can also be made using adipoyl chloride instead of adipic It is difficult to get the proportions exactly correct, and deviations can lead to chain termination at molecular weights less than a desirable 10,000 daltons ( u ). To overcome this problem, a crystalline , solid "nylon salt " can be formed at room temperature , using an exact 1:1 ratio of the acid and the base to neutralize each other. Heated to 285 °C, the salt reacts to form nylon polymer. Above 20,000 daltons, it is impossible to spin the chains into yarn , so to combat this, some acetic acid is added to react with a free amine end group during polymer elongation to limit the molecular weight. In practice, and especially for 6,6, the monomers are often combined in a water solution. The water used to make the solution is evaporated under controlled conditions, and the increasing concentration of "salt" is polymerized to the final molecular weight.
DuPont patented [1] nylon 6,6, so in order to compete, other companies (particularly the German BASF ) developed the homopolymer nylon 6 , or polycaprolactam — not a condensation polymer, but formed by a ring-opening polymerization (alternatively made by polymerizing aminocaproic acid ). The peptide bond within the caprolactam is broken with the exposed active groups on each side being incorporated into two new bonds as the monomer becomes part of the polymer backbone. In this case, all amide bonds lie in the same direction, but the properties of nylon 6 are sometimes indistinguishable from those of nylon 6,6 — except for melt temperature (N6 is lower) and some fiber properties in products like carpets and textiles. There is also nylon 9.
Nylon 5,10, made from pentamethylene diamine and sebacic acid , was studied by Carothers even before nylon 6,6 and has superior properties, but is more expensive to make. In keeping with this naming convention, "nylon 6,12" (N-6,12) or "PA-6,12" is a copolymer of a 6C diamine and a 12C diacid. Similarly for N-5,10 N-6,11; N-10,12, etc. Other nylons include copolymerized dicarboxylic acid/diamine products that are not based upon the monomers listed above. For example, some aromatic nylons are polymerized with the addition of diacids like terephthalic acid (→ Kevlar ) or isophthalic acid (→ Nomex ), more commonly associated with polyesters. There are copolymers of N-6,6/N6; copolymers of N-6,6/N-6/N-12; and others. Because of the way polyamides are formed, nylon would seem to be limited to unbranched, straight chains. But "star" branched nylon can be produced by the condensation of dicarboxylic acids with polyamines having three or more amino groups .
The general reaction is:
A molecule of water is given off and the nylon is formed. Its properties are determined by the R and R' groups in the monomers. In nylon 6,6, R' = 6C and R = 4C alkanes , but one also has to include the two carboxyl carbons in the diacid to get the number it donates to the chain. In Kevlar , both R and R' are benzene rings.
Nylon Fiber
The Federal Trade Commissions ' Definition for Nylon Fiber: A manufactured fiber in which the fiber forming substance is a long-chain synthetic polyamide in which less than 85% of the amide-linkages are attached directly (-CO-NH-) to two aliphatic groups.
A synthetic thermoplastic fiber (Nylon melts/glazes easily at relatively low temperatures)
Round, smooth, and shiny filament fibers
cross sections can be either
trilobal to imitate silk
multilobal to increase staple like appearance and hand
It's most widely used structures are multifilament , monofilament , staple or tow and is available as partially drawn or as finished filaments.
Regular nylon has a round cross section and is perfectly uniform. The filaments are generally completely transparent unless they have been delustered or solution dyed. Thus, they are microscopically recognized as glass rods.
Molecular chains of nylon are long and straight variations but have no side chains or linkages.
Cold drawing (step 18 on the model) can align the chains so they are oriented with the lengthwise direction and are highly crystalline .
Nylon is related chemically to the protein fibers silk and wool.
They both have similar dye sites but nylon has many fewer dye sites than wool.
Basic Concepts of Nylon Production
The first approach: combining molecules with an acid (COOH) group on each end are reacted with two chemicals that contain amine(NH2)groups on each end.
This process creates nylon 6,6 , made of hexamethylene diamine with six carbon atoms and acidipic acid, as well as six carbon atoms.
The second approach: a compound has an acid at one end and an amine at the other and is polymerized to for a chain with repeating units of(-NH-[CH2]n-CO-)x.
In other words, nylon 6 is made from a single six-carbon substance called caprolactam.
In this equation, if n=5, then nylon 6 is the assigned name. (may also be referred to as polymer)
Nylon 6,6
Pleats and creases can be heat-set at higher temperatures
Difficult to dye
Used in carpets and nylon stockings
Melts instead of burns
Used in many military applications
Bulk properties
Above their melting temperatures , Tm, thermoplastics like nylon are amorphous solids or viscous fluids in which the chains approximate random coils . Below Tm, amorphous regions alternate with regions which are lamellar crystals . [1] The amorphous regions contribute elasticity and the crystalline regions contribute strength and rigidity. The planar amide (-CO-NH-) groups are very polar , so nylon forms multiple hydrogen bonds among adjacent strands. Because the nylon backbone is so regular and symmetrical, especially if all the amide bonds are in the trans configuration , nylons often have high crystallinity and make excellent fibers. The amount of crystallinity depends on the details of formation, as well as on the kind of nylon. Apparently it can never be quenched from a melt as a completely amorphous solid.
Nylon 6,6 can have multiple parallel strands aligned with their neighboring peptide bonds at coordinated separations of exactly 6 and 4 carbons for considerable lengths, so the carbonyl oxygens and amide hydrogens can line up to form interchain hydrogen bonds repeatedly, without interruption. Nylon 5,10 can have coordinated runs of 5 and 8 carbons. Thus parallel (but not antiparallel) strands can participate in extended, unbroken, multi-chain β-pleated sheets , a strong and tough supermolecular structure similar to that found in natural silk fibroin and the β-keratins in feathers . (Proteins have only an amino acid α-carbon separating sequential -CO-NH- groups.) Nylon 6 will form uninterrupted H-bonded sheets with mixed directionalities, but the β-sheet wrinkling is somewhat different. The three-dimensional disposition of each alkane hydrocarbon chain depends on rotations about the 109.47° tetrahedral bonds of singly-bonded carbon atoms.
When extruded into fibers through pores in an industrial spinneret , the individual polymer chains tend to align because of viscous flow . If subjected to cold drawing afterwards, the fibers align further, increasing their crystallinity, and the material acquires additional tensile strength . [2] In practice, nylon fibers are most often drawn using heated rolls at high speeds.
Block nylon tends to be less crystalline, except near the surfaces due to shearing stresses during formation. Nylon is clear and colorless , or milky, but is easily dyed . Multistranded nylon cord and rope is slippery and tends to unravel. The ends can be melted and fused with a heat source such as a flame or electrode to prevent this.
There are carbon fiber/nylon composities with higher density than pure nylon.
When dry, polyamide is a good electrical insulator. However, polyamide is hygroscopic . The absorption of water will change some of the material 's properties such as its electrical resistance . Nylon is less absorbant than wool or cotton.
Historical uses
Bill Pittendreigh , DuPont , and other individuals and corporations worked diligently during the first few months of World War II to find a way to replace Asian silk with nylon in parachutes . It was also used to make tires , tents , ropes , ponchos , and other military supplies. It was even used in the production of a high-grade paper for U.S. currency . At the outset of the war, cotton accounted for more than 80% of all fibers used and manufactured, and wool fibers accounted for the remaining 20%. By August 1945, manufactured fibers had taken a market share of 25% and cotton had dropped.
Some of the terpolymers based upon nylon are used every day in packaging. Nylon has been used for meat wrappings and sausage sheaths.
Etymology
In 1940 John W. Eckelberry of DuPont stated that the letters "nyl" were arbitrary and the "on" was copied from the suffixes of other fibers such as cotton and rayon . A later publication by DuPont (Context, vol. 7, no. 2, 1978 ) explained that the name was originally intended to be "No-Run" ("run" meaning "unravel"), but was modified to avoid making such an unjustified claim and to make the word sound better. The story goes that Carothers changed one letter at a time until DuPont's management was satisfied. But he was not involved in the nylon project during the last year of his life, and committed suicide before the name was coined.
Two theories about the origin of the name claim that it is an acronym of "Now you've lost, Old Nippon " (N.Y.L.O.N.), or that it stands for " New York - London ". In the latter case, it is claimed that these were the two cities where the product was researched and developed, or that the inspiration came from a New York to London airplane ticket. There is no evidence for the 'airline ticket' theory, though some compelling evidence of the latter from contemporary researchers at Oxford University who assisted in development...Oxford can be viewed as London from New York, but Nylox would have been more accurate.
Uses
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Now known as the Dong Fang Ocean, what ship ran aground in Prince William Sound, dumping hundreds of thousands of gallons of oil into the gulf of Alaska, the 54th largest spill in history? | ship groundings | NOAA's Response and Restoration Blog
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An inside look at the science of cleaning up and fixing the mess of marine pollution
Tag Archives: ship groundings
Restoration of an Injured Caribbean Coral Reef
A coral cache location where fractured corals were protected prior to reef reattachment. NOAA
The waters surrounding the Puerto Rico archipelago are known for the diversity and beauty of the coral reefs. Those reefs are also under great pressure from population density, land uses, and shipping traffic.
On Oct. 27, 2009 the tanker Port Stewart grounded in coral reef habitat on the southeast coast of Puerto Rico near the entrance to Yabucoa Channel. The tanker was carrying 7 million gallons of oil. Local efforts freed the ship the same day it grounded without an oil spill but both the grounding and removal process caused extensive injury to the reef.
Nearly 93 percent of Puerto Rico’s coral reefs are rated as threatened, with 84 percent at high risk and among the most threatened in the Caribbean. The Port Stewart incident directly destroyed about 512 square meters (about 5,551 square feet) of the living coral reef. The injured habitat had a diverse community of soft corals (octocorals), sponges, and hard corals (scleractinian), including Staghorn coral (Acropora cervicornis), a threatened species under the Endangered Species Act.
National Oceanic and Atmospheric Administration and the Puerto Rico Department of Natural and Environmental Resources officials have been working on a restoration plan for the area, which is now available for public comment . The period for comments ends Feb. 10, 2017.
When a reef is injured it’s important to take emergency restoration actions to salvage as many of the corals as possible. Following the grounding work began to triage corals and plan emergency restoration which lasted through 2010. This included surveying and mapping the area affected by the incident and salvaging as many living corals as possible. Emergency restoration efforts are designed to meet most of the actions needed to revive the injured reef.
Broken corals were draped on a floating coral array frame in order to grow bigger. Divers attached Acropora coral fragments, one of many coral types affected by the grounding. NOAA
In the Port Stewart case that included salvaging scleractinian corals, the hard reef-building animals that create skeletons under their skin. The skeletons are made from calcium carbonate and protect the coral animals and offer a base that other coral can attach themselves to, creating the reef community. The actions of emergency crews were able to save about 1,000 corals.
Scientists have monitored injured reef for the past six years and consider restoration efforts successful. According to monitoring reports, survivorship of reattached corals is comparable to that of naturally occurring corals in the area.
NOAA has the responsibility to conserve coral reef ecosystems under the Coral Reef Conservation Act of 2000. You can read more about how NOAA is working to restore damages reefs in the following articles:
Argo Merchant: The Birth of Modern Oil Spill Response
The Argo Merchant was carrying 7.7 million gallons of fuel oil when it went off course and became stuck on Dec. 15, 1976. Credit: Coast Guard Historian
When the Argo Merchant ran aground on Nantucket Shoals off Massachusetts early on Dec. 15, 1976, and spilled nearly 8 million gallons of heavy fuel oil, it became the worst marine oil spill the United States had seen. It also led to the eventual creation of the Office of Response and Restoration (OR&R).
The maverick research team
In 1974, as work began on the Alaska pipeline, NOAA scientists and academics realized there were important unanswered questions about oil spills.
“How does oil behave in water, that’s what we wanted to know,” recalled Peter Grose, who was then at NOAA’s Environmental Data Services Center in the District of Columbia. “The Environmental Research Lab in Boulder were looking at impacts from Alaskan drilling. We had the simplest models then of how oil moved with wind and waves. Jerry Galt was the modeler in ERL. …. He was kind of leader of the pack.”
Santa Barbara oil spill research
“What made me stand out at the moment was I was focusing my work on oil trajectories,” Galt said. The Boulder group was looking for a way to study oil spills. It was suggested they go to Santa Barbara, where they could observe natural ocean oil seeps. Galt, along with other interested NOAA researchers, formed the first Spilled Oil Response (SOR) team.
“We were sort of mavericks,” Galt said. “This was all sort of unofficial.”
The team set some ground rules for that first trip, Galt said. All equipment had to fit into a suitcase and ocean flyovers would be from a Cessna 172, the most commonly available rent-a-plane and already certified by Federal Aviation Administration to fly with the doors off. That made it easier for the team to drop dye into the ocean and photograph how it spread.
After a week in Santa Barbara, according to Galt, “We said well, let’s think about this and what we learned, make some notes and get together after Christmas. … Well, we didn’t make Christmas.”
The Argo Merchant spill
Word of the Argo Merchant spill spread quickly, and because the loosely formed SOR team (Galt’s colleagues from Boulder and Grose’s in D.C.) had a preliminary oil spill plan, it was decided they would head to Massachusetts.
“We took planes and shuttles to Hyannis,” said Grose. “We wanted to know if the oil stayed together or broke into smaller chunks. Did it absorb into the water column? We wanted to look at weather.”
On the trip with Grose, a physical oceanographer, was chemical oceanographer James Mattson and marine ecologist Elaine Chan. Galt’s team from Boulder included David Kennedy. The team embarked on two weeks of intense observations.
“We started being obnoxious, asking scientific questions,” Galt said. “I immediately contacted people in Woods Hole and MIT doing oceanography there and we went and talked to the Coast Guard about getting on over-flights.”
At first, the team was not there in an official capacity, but that soon changed.
“We found out a truism of oil spills: If you’re not part of the solution, you’re part of the problem,” said Galt. “So, the Coast Guard said, ‘You want to go out on our airplanes? We need observers. You work for us, all right?’ We said OK and off we went.”
The team rose at dawn to catch the Coast Guard’s flight over the spill, taking photos. For perhaps the first time, divers were enlisted to go under the spill to determine if the oil was getting into the water column. Oil samples were taken. Then the team would convene at a local hotel to analyze the day’s data.
“We learned how to develop film in a hotel room,” Galt said. “I was there for a week to start with and during that week I think I spent 10 hours in bed. … I went home for Christmas dinner and fell asleep at the table, and after I woke up I went back to the spill.”
From HAZMAT to OR&R
In addition to publishing a report in record time, the team’s experiences resulted in the improvement of science equipment and oil-spill-response techniques.
“With Argo Merchant we developed a camera that could record time,” said Grose. “It’s hard to photograph a spill in intervals when you don’t have a timestamp on the photo. That seems like a little thing, but when you come back with 10 rolls of film it ends up being a big thing.”
The experience with the Argo Merchant spill answered some of team’s questions, and showed the need for more spill information, leading to the creations of the Hazardous Materials Response Division (HAZMAT), and finally to the Office of Response and Restoration.
“In the end,” Grose said, “what we learned was how much there was to still learn about oil spills.”
This is the third in a series of six stories examining the oil spill in 1976 of tanker Argo Merchant resulting in the creation of the Office of Response and Restoration.
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1976: A Winter of Ship Accidents
The tanker Sansinena exploded in Los Angeles harbor on Dec. 17, 1976, spilling 1.3 million gallons of heavy oil. USCG
The winter of 1976-77 was a bad time for oil spills in the United States. I was still in middle school, but I remember doing a science report on oil spills. In a short time period there were multiple major oil spills, including these:
The tanker Argo Merchant ran aground on Dec. 15, 1976 and later broke apart off Nantucket Island, Massachusetts, spilling 7.6 million gallons of heavy fuel oil.
The tanker Sansinena exploded in Los Angeles Harbor, California, on Dec. 17, 1976, spilling 1.3 million gallons of heavy oil. Nine crew were killed and 46 people were injured.
Christmas Eve 1976 was not all quiet, when the tanker Oswego Peace spilled 5,000 gallons of bunker fuel into New London Harbor, Connecticut.
The tanker Olympic Games ran aground in the Delaware River, south of Philadelphia Pennsylvania, on Dec. 27, 1976, spilling 145,000 gallons of crude.
The rash of incidents continued into the New Year.
On Jan. 4, 1977, the tanker Universe Leader, loaded with 21 million gallons, ran aground in the Delaware River, New Jersey. It was refloated without a spill.
Also on Jan. 4, 1977, the tanker Grand Zenith, loaded with 8 million gallons of oil, was lost with all hands off the coast of New England. Only a few pieces of debris and an oil slick were found.
On Jan. 10, 1977, the tanker Chester A. Poling broke in half and sank off Gloucester, Massachusetts. It had just discharged its cargo and was only carrying ballast, but still spilled 14,000 gallons of diesel. One crew member was killed.
The large number of tanker accidents and loss of life alarmed the public and Congress. Hearings were quickly held in the District of Columbia in January, 1977. The hearing transcripts provide an insight into shipping and pollution concerns of the time. These concerns included the risk of spills from the still-under-construction Trans-Alaska Pipeline System that would open in a few months. The hearings concluded, but the rash of spills that winter did not.
On Jan. 17, 1977, the tanker Irene’s Challenger, loaded with 9.6 million gallons of crude oil, broke apart and sank near Midway Island in North Pacific Ocean. Three crew were lost.
On Feb. 2, 1977, the tank barge Ethel H spilled 480,000 gallons of crude oil into New York Harbor.
On Feb. 26, 1977, the tanker Hawaiian Patriot broke apart and sank off Hawaii, spilling 31 million gallons of crude oil. All but one of the crew were rescued. This little known incident is still considered the largest tanker spill in United States waters.
This winter marks the 40th anniversary of NOAA’s spill response program — a program that began, not surprisingly, in the wake of all of these incidents. In December, the Office of Response and Restorations (OR&R) will post a series of stories on NOAA’s leading role in oil spill response.
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10 Photos That Tell the Story of the Exxon Valdez Oil Spill and its Impacts
The single-hull tanker Exxon Valdez ran aground on Bligh Reef in Prince William Sound, Alaska, March 24, 1989, spilling 11 million gallons of crude oil. (U.S. Coast Guard)
While oil spills happen almost every day, we are fortunate that relatively few make such large or lasting impressions as the Deepwater Horizon or Exxon Valdez spills. Before 2010, when the United States was fixated on a gushing oil well at the bottom of the Gulf of Mexico, most Americans could probably only name one spill: when the tanker Exxon Valdez released 11 million gallons of crude oil into Alaska’s Prince William Sound on March 24, 1989.
Here we’ve gathered 10 photos that help tell the story of the Exxon Valdez oil spill and its impacts, not only on the environment but also on science, policy, spill response, school kids, and even board games. It has become a touchstone event in many ways, one to be learned from even decades after the fact.
1. Time for safety
In an ironic twist of fate, the Exxon Shipping Company’s safety calendar featured the tanker Exxon Valdez in March 1989, the same month the ship ran aground. Image: From the collection of Gary Shigenaka.
Long before the Exxon Valdez tanker ran aground on Bligh Reef in Prince William Sound, a series of events were building that would enable this catastrophic marine accident to unfold as it did. These actions varied from the opening of the Trans-Alaska Pipeline in the 1970s to the decision by the corporation running that pipeline to disband its oil spill response team and Exxon’s efforts to hold up both the tanker Exxon Valdez and its captain, Joseph Hazelwood, as exemplars of safety.
Captain Hazelwood received two Exxon Fleet safety awards for 1987 and 1988, the years leading up to March 1989, which was coincidentally the month the Exxon Valdez was featured on an Exxon Shipping Company calendar bearing the warning to “take time to be careful – now.”
Read more about the timeline of events leading up to the Exxon Valdez oil spill .
2. A law for the birds
Thanks to the Oil Pollution Act, federal and state agencies can more easily evaluate the full environmental impacts of oil spills — and then enact restoration to make up for that harm. (Exxon Valdez Oil Spill Trustee Council)
Photos of oil-soaked birds and other wildlife in Prince William Sound reinforced just how inadequate the patchwork of existing federal, state, and local laws were at preventing or addressing the Exxon Valdez oil spill.
While lawmakers took nearly a year and a half—and a few more oil spills—to pass the Oil Pollution Act of 1990 , this landmark legislation was without a doubt inspired by that major oil spill. (After all, the law specifically “bars from Prince William Sound any tank vessels that have spilled over 1,000,000 gallons of oil into the marine environment after March 22, 1989.” In other words, the Exxon Valdez.) In the years since it passed, this law has made huge strides in improving oil spill prevention, cleanup, liability, and restoration .
3. The end of single-hull tankers
Evidence of the success of double-hull tankers: The Norwegian tanker SKS Satilla collided with a submerged oil rig in the Gulf of Mexico in 2009 and despite this damage, did not spill any oil. (Texas General Land Office)
This image of a damaged ship is not showing the T/V Exxon Valdez, and that is precisely the point. The Exxon Valdez was an oil tanker with a single hull, which meant that when it hit ground, there was only one layer of metal for the rocks to tear through and release its tanks of oil.
But this 2009 photo shows the Norwegian tanker SKS Satilla after it sustained a major gash in its double-sided hull — and didn’t spill a drop of oil. Thanks to the Oil Pollution Act of 1990, all new tankers and tank-barges were required to be built with double hulls to reduce the chance of another Exxon Valdez situation. January 1, 2015 was the final deadline for phasing out single-hull tankers in U.S. waters .
4. Oiled otters and angry kids
Letter from Kelli Middlestead from the Franklin School, Burlingame, California to Walter Stieglitz the Regional Director of the Alaska Region of the U.S. Fish and Wildlife Service, 04/13/1989
Letter from Kelli Middlestead from the Franklin School, Burlingame, California to Walter Stieglitz the Regional Director of the Alaska Region of the U.S. Fish and Wildlife Service, 04/13/1989
Letter from Kelli Middlestead from the Franklin School, Burlingame, California to Walter Stieglitz the Regional Director of the Alaska Region of the U.S. Fish and Wildlife Service, 04/13/1989
Policymakers weren’t the only ones to take note and take action in the wake of the Exxon Valdez oil spill. Second grader Kelli Middlestead of the Franklin School in Burlingame, California, was quite upset that the oil spill was having such devastating effects on one of her favorite animals: sea otters. So, on April 13, 1989, she wrote and illustrated a letter to Walter Stieglitz , Alaskan Regional Director of the U.S. Fish and Wildlife Service, to let him know she felt that the oil spill was “killing nature.”
Indeed, sea otters in Prince William Sound weren’t declared recovered from the Exxon Valdez oil spill until 2013. Other species still haven’t recovered and in some sheltered beaches below the surface, you can still find pockets of oil .
5. Oil and killer whales do mix (unfortunately)
Killer whales swimming in Prince William Sound alongside boats skimming oil from the Exxon Valdez oil spill (State of Alaska, Dan Lawn).
One of the species that has yet to recover after the Exxon Valdez oil spill is the killer whale, or orca. Before this oil spill, scientists and oil spill experts thought that these marine mammals were able to detect and avoid oil spills. That is, until two killer whale pods were spotted swimming near or through oil from this spill . One of them, a group nicknamed the “AT1 Transients” which feed primarily on marine mammals, suffered an abrupt 40% drop in population during the 18 months following the oil spill.
The second group of affected killer whales, the fish-eating “AB Pod Residents,” lost 33% of their population, and while they have started to rebound, the transients are listed as a “depleted stock” under the Marine Mammal Protection Act and may have as few as seven individuals remaining, down from a stable population of at least 22 in the 1980s.
Building on the lessons of the Exxon Valdez and Deepwater Horizon oil spills, NOAA has developed an emergency plan for keeping the endangered Southern Resident killer whale populations of Washington and British Columbia away from potential oil spills.
6. Tuna troubles
A normal yellowfin tuna larva (top), and a larva exposed to Deepwater Horizon crude oil during development (bottom). The oil-exposed larva shows a suite of abnormalities including excess fluid building up around the heart due to heart failure and poor growth of fins and eyes. (NOAA)
How does crude oil affect fish populations? In the decades since the Exxon Valdez spill, teams of scientists have been studying the long-term effects of oil on fish such as herring, pink salmon, and tuna. In the first couple years after this spill, they found that oil was in fact toxic to developing fish, curving their spines, reducing the size of their eyes and jaws, and building up fluid around their hearts.
As part of this rich research tradition begun after the Exxon Valdez spill, NOAA scientists helped uncover the precise mechanisms for how this happens after the Deepwater Horizon oil spill in 2010. The photo here shows both a normal yellowfin tuna larva not long after hatching (top) and a larva exposed to Deepwater Horizon crude oil as it developed in the egg (bottom).
The oil-exposed larva exhibits a suite of abnormalities, showing how toxic chemicals in oil such as polycyclic aromatic hydrocarbons (PAHs) can affect the embryonic heart. By altering the embryonic heartbeat, exposure to oil can transform the shape of the heart, with implications for how well the fish can swim and survive as an adult.
7. Caught between a rock and a hard place
The boulder nicknamed “Mearns Rock,” located in the southwest corner of Prince William Sound, Alaska, was coated in oil which was not cleaned off after the 1989 Exxon Valdez oil spill. This image was taken in 2003. (NOAA)
Not all impacts from an oil spill are as easy to see as deformed fish hearts. As NOAA scientists Alan Mearns and Gary Shigenaka have learned since 1989, picking out those impacts from the noisy background levels of variability in the natural environment become even harder when the global climate and ocean are undergoing unprecedented change as well.
Mearns, for example, has been monitoring the boom and bust cycles of marine life on a large boulder—nicknamed “Mearns Rock” —that was oiled but not cleaned after the Exxon Valdez oil spill. What he and Shigenaka have observed on that rock and elsewhere in Prince William Sound has revealed large natural swings in the numbers of mussels, seaweeds, and barnacles , changes which are unrelated to the oil spill as they were occurring even in areas untouched by the spill.
Read more about how these scientists are exploring these challenges and a report on NOAA’s involvement in the wake of this spill .
8. A game culture
The game “On the Rocks: The Great Alaska Oil Spill” challenges players to clean all 200 miles of shoreline oiled by the Exxon Valdez — and do so with limits on time and money. (Credit: Alaska Resources Library and Information Services, ARLIS)
Just as the Exxon Valdez oil spill touched approximately 200 miles of remote and rugged Alaskan shoreline, this spill also touched the hearts and minds of people far from the spill. References to it permeated mainstream American culture in surprising ways, inspiring a cookbook, a movie, a play, music, books, poetry, and even a board game .
That’s right, a bartender from Valdez, Alaska, produced the board game “On the Rocks: The Great Alaska Oil Spill” as a result of his experience employed in spill cleanup. Players vied to be the first to wash all 200 miles of oiled shoreline without running out of time or money.
9. Carrying a piece of the ship
The rusted and nondescript piece of steel on the left was a piece of the tanker Exxon Valdez, recovered by the salvage crew in 1989 and given to NOAA marine biologist Gary Shigenaka. It was the beginning of his collection of Exxon Valdez artifacts and remains the item with the biggest personal value to him. The piece of metal on the right, inscribed with “On the rocks,” is also metal from the ship but was purchased on eBay. (NOAA)
One NOAA scientist in particular, Gary Shigenaka, who kicked off his career working on the Exxon Valdez oil spill, was personally touched by this spill as well. After receiving a small chunk of metal from the ship’s salvage, Shigenaka began amassing a collection of Exxon Valdez–related memorabilia , ranging from a highball glass commemorating the ship’s launch in 1986 (ironic considering the questions surrounding its captain being intoxicated the night of the accident) to the front page of the local paper the day of the spill.
See more photos of his collection.
10. The infamous ship’s fate
Exxon Valdez/Exxon Mediterranean/Sea River Mediterranean/S/R Mediterranean/Mediterranean/Dong Fang Ocean/Oriental Nicety being dismantled in Alang, India, 2012. Photo by ToxicsWatch Alliance.
After causing the largest-to-date oil spill in U.S. waters, what ever happened to the ill-fated Exxon Valdez ship ? It limped back for repairs to San Diego Bay where it was built, but by the time it was sea-ready again, the ship had been banned from Prince William Sound by the Oil Pollution Act and would instead be reassigned to the Mediterranean and Middle East and renamed accordingly, the Exxon Mediterranean.
But a series of new names and bad luck continued to follow this ship, until it was finally sold for scrap in 2011. Under its final name, Oriental Nicety, it was intentionally grounded at the infamous shipbreaking beaches of Alang, Gujarat, India , in 2012 and dismantled in its final resting place 23 years after the Exxon Valdez ran aground half a world away.
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This Is How We Help Make the Ocean a Better Place for Coral
The ocean on its own is an amazing place. Which is why we humans like to explore it, from its warm, sandy beaches to its dark, mysterious depths. But when humans are involved, things can and often do go wrong.
That’s where we come in. Our corner of NOAA helps figure out what impacts have happened and what restoration is needed to make up for them when humans create a mess of the ocean, from oil spills to ship groundings.
In honor of World Ocean Day , here are a few ways we at NOAA make the ocean a better place for corals when ships accidentally turn them into undersea roadkill.
First, we literally vacuum up broken coral and rubble from the seafloor after ships run into and get stuck on coral reefs. The ships end up crushing corals’ calcium carbonate homes, often carpeting the seafloor with rubble that needs to be removed for three reasons.
To prevent it from smashing into healthy coral nearby.
To clear space for re-attaching coral during restoration.
To allow for tiny, free-floating coral babies to settle in the cleared area and start growing.
Check it out:
Sometimes, however, the broken bits get stuck in the suction tube, and you have to give it a good shake to get things moving.
Next, we save as many dislodged and knocked over corals as we can. In this case, popping them into a giant underwater basket that a boat pulls to the final restoration site.
Sometimes we use “coral nurseries” to regrow corals to replace the ones that were damaged. This is what that can look like:
Then, we cement healthy corals to the seafloor, but first we have to prepare the area, which includes scrubbing a spot for the cement and coral to stick to.
(And if that doesn’t work very well, we’ll bring out a power washer to get the job done.)
Finally, we’re ready for the bucket of cement and the healthy coral.
Instead of cement, we may also use epoxy, nails, or cable ties to secure corals to the ocean floor.
After all that work, the seafloor goes from looking like this:
To this:
Ta-da! Good as new, or at least, on its way back to being good-as-new.
When that’s not enough to make up for all the harm done to coral reefs hit by ships, we look for other restoration projects to help corals in the area, like this project to vacuum invasive algae off of coral reefs in Oahu.
Watch how this device, dubbed the “Super Sucker,” works to efficiently remove the yellow-brown algae that is smothering the corals:
Or, as another example of a coral restoration project, we set sail each year to the remote Papahānaumokuākea Marine National Monument in the Northwestern Hawaiian Islands to pull more than 50 tons of giant, abandoned fishing nets off of the pristine coral reefs .
In 2014, that included removing an 11 ton “monster net” from a reef:
For the most part, the coral restoration you’ve seen here was completed by NOAA and our partners, beginning in October 2013 and wrapping up in April 2014.
These corals were damaged off the Hawaiian island of Oahu in February of 2010 when the cargo ship M/V VogeTrader ran aground and was later removed from a coral reef in Kalaeloa/Barber’s Point Harbor.
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NOAA and Partners Work Quickly to Save Corals Hit by Catamaran in Puerto Rico
On May 14, 2015, the 49-foot-long catamaran M/V Aubi ran aground along the north coast of Puerto Rico, further damaging wide swaths of corals in the area during its removal. (NOAA)
A multi-organizational team, which included NOAA, was able to salvage over 800 coral colonies or fragments of colonies, moving them into deeper water nearby as divers cleared the area of rubble that could further damage them and neighboring reefs. (NOAA)
Experts estimate that thousands of corals were broken, dislodged, buried, or destroyed when the 49-foot-long catamaran M/V Aubi ran aground along the north coast of Puerto Rico the night of May 14, 2015.
Traveling from the Dominican Republic to San Juan, Puerto Rico, the recreational boat became grounded on a coral reef, causing significant damage to the reef. As the vessel was being moved, the vessel’s two hulls slowly ground further into the reef, forming mounds of coral and leaving rubble on the ocean bottom. UPDATED 5/27/2015: The area of the vessel’s direct impact is 366 square meters (not quite 4,000 square feet), while partial impact covers more than 1,000 square meters (roughly 10,764 square feet).
On the night of the grounding, responders were immediately concerned about preventing a spill of the fuel on board the Aubi. The fuel had to be removed from the fuel tanks in the aluminum hulls of the catamaran before it was moved off of the coral reefs. By the evening of May 15, approximately 1,500 gallons of fuel had been removed successfully, readying the vessel to be towed from the reef. It was pulled free during high tide the next morning.
The location of the grounding is in a Puerto Rico Marine Reserve, overseen by the Puerto Rico Department of Natural and Environmental Resources.
Crushing News and Rubble Rousers
The species of coral affected by the accident are mostly Diploria, or brain coral, and Acropora palmata, or elkhorn coral. Listed as threatened under the Endangered Species Act, elkhorn coral is one of the most important reef-building corals in the Caribbean. Brain coral, found in the West Atlantic Ocean and the Caribbean, is also an important reef-building coral and is known for its stony, brain-like appearance.
Although there was significant damage to the coral, an oil spill fortunately was prevented. While exposure to oil may kill corals , it more frequently reduces their ability to perform photosynthesis and causes growth or reproductive problems .
A multi-organizational team, which included NOAA, was able to salvage over 800 coral colonies (or fragments of colonies), moving them into deeper water nearby for temporary holding. About 75 very large colonies of brain coral were righted but unable to be moved because of their size.
Brain coral (Diploria) and elkhorn coral (Acropora palmata) represent the majority of the coral species affected by this vessel grounding. (NOAA)
With buckets and by hand, the team filled 50 loads of rubble (approximately nine cubic yards) into open kayaks and small boats to transport them to a deeper underwater site that Puerto Rico Department of Natural Resources had approved for dumping. All that material, moved in one day, would otherwise likely have washed into the healthy reef adjacent to the damaged one and potentially caused even more harm.
While poor weather has been preventing further work at the grounding site this past week, the team expects to restart work soon. Once that happens, initial estimates are that it will take 10-15 days to reattach the salvaged corals and to secure the rubble most at risk of moving. Stabilizing or removing the remaining rubble and rebuilding the topographic complexity of the flattened seafloor, accomplished using large pieces of rubble, would likely take an additional 10 days.
Both the location and nature of the corals dominating the area make it a very viable location for complete restoration using nursery-grown corals , but the scope and scale would still need to be determined.
Small Boat, Big Impact?
An area of healthy corals near the site of the grounded M/V Aubi. Divers acted quickly to protect these corals from being damaged by the large amounts of rubble loose on the seafloor after the accident. (NOAA)
Even though the vessel involved in this grounding was relatively small, an unofficial, anecdotal report from the team working on the site noted that the amount of damage appeared comparable to that caused by the groundings of much larger vessels, such as tankers.
If not for the quick work of the U.S. Coast Guard, Puerto Rico Department of Natural Resources, NOAA, support contractors, volunteers from non-governmental organizations, and members of the local community, the damage could have been much worse.
Healthy coral reefs are among the most biologically and economically valuable ecosystems on earth.
According to NOAA’s Coral Reef Conservation Program , a little-known fact is that corals are in fact animals, even though they may exhibit some of the characteristics of plants and are often mistaken for rocks.
Learn more about how NOAA dives to the rescue of corals in the Caribbean when they become damaged by grounded ships .
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Today in 1932 the �Prancing Horse� made its first appearance on one of Enzo Ferrari's cars.
A nice walpaper to invisy.
Jul 10, 1925:
Monkey Trial begins
In Dayton, Tennessee, the so-called "Monkey Trial" begins with John Thomas Scopes, a young high school science teacher, accused of teaching evolution in violation of a Tennessee state law.
The law, which had been passed in March, made it a misdemeanor punishable by fine to "teach any theory that denies the story of the Divine Creation of man as taught in the Bible, and to teach instead that man has descended from a lower order of animals." With local businessman George Rappalyea, Scopes had conspired to get charged with this violation, and after his arrest the pair enlisted the aid of the American Civil Liberties Union (ACLU) to organize a defense. Hearing of this coordinated attack on Christian fundamentalism, William Jennings Bryan, the three-time Democratic presidential candidate and a fundamentalist hero, volunteered to assist the prosecution. Soon after, the great attorney Clarence Darrow agreed to join the ACLU in the defense, and the stage was set for one of the most famous trials in U.S. history.
On July 10, the Monkey Trial got underway, and within a few days hordes of spectators and reporters had descended on Dayton as preachers set up revival tents along the city's main street to keep the faithful stirred up. Inside the Rhea County Courthouse, the defense suffered early setbacks when Judge John Raulston ruled against their attempt to prove the law unconstitutional and then refused to end his practice of opening each day's proceeding with prayer.
Outside, Dayton took on a carnival-like atmosphere as an exhibit featuring two chimpanzees and a supposed "missing link" opened in town, and vendors sold Bibles, toy monkeys, hot dogs, and lemonade. The missing link was in fact Jo Viens of Burlington, Vermont, a 51-year-old man who was of short stature and possessed a receding forehead and a protruding jaw. One of the chimpanzees--named Joe Mendi--wore a plaid suit, a brown fedora, and white spats, and entertained Dayton's citizens by monkeying around on the courthouse lawn.
In the courtroom, Judge Raulston destroyed the defense's strategy by ruling that expert scientific testimony on evolution was inadmissible--on the grounds that it was Scopes who was on trial, not the law he had violated. The next day, Raulston ordered the trial moved to the courthouse lawn, fearing that the weight of the crowd inside was in danger of collapsing the floor.
In front of several thousand spectators in the open air, Darrow changed his tactics and as his sole witness called Bryan in an attempt to discredit his literal interpretation of the Bible. In a searching examination, Bryan was subjected to severe ridicule and forced to make ignorant and contradictory statements to the amusement of the crowd. On July 21, in his closing speech, Darrow asked the jury to return a verdict of guilty in order that the case might be appealed. Under Tennessee law, Bryan was thereby denied the opportunity to deliver the closing speech he had been preparing for weeks. After eight minutes of deliberation, the jury returned with a guilty verdict, and Raulston ordered Scopes to pay a fine of $100, the minimum the law allowed. Although Bryan had won the case, he had been publicly humiliated and his fundamentalist beliefs had been disgraced. Five days later, on July 26, he lay down for a Sunday afternoon nap and never woke up.
In 1927, the Tennessee Supreme Court overturned the Monkey Trial verdict on a technicality but left the constitutional issues unresolved until 1968, when the U.S. Supreme Court overturned a similar Arkansas law on the grounds that it violated the First Amendment.
Jul 10, 1962:
U.S. Patent issued for three-point seatbelt
The United States Patent Office issues the Swedish engineer Nils Bohlin a patent for his three-point automobile safety belt "for use in vehicles, especially road vehicles" on this day in 1962.
Four years earlier, Sweden's Volvo Car Corporation had hired Bohlin, who had previously worked in the Swedish aviation industry, as the company's first chief safety engineer. At the time, safety-belt use in automobiles was limited mostly to race car drivers; the traditional two-point belt, which fastened in a buckle over the abdomen, had been known to cause severe internal injuries in the event of a high-speed crash. Bohlin designed his three-point system in less than a year, and Volvo introduced it on its cars in 1959. Consisting of two straps that joined at the hip level and fastened into a single anchor point, the three-point belt significantly reduced injuries by effectively holding both the upper and lower body and reducing the impact of the swift deceleration that occurred in a crash.
On August 17, 1959, Bohlin filed for a patent in the United States for his safety belt design. The U.S. Patent Office issued Patent No. 3,043,625 to "Nils Ivar Bohlin, Goteborg, Sweden, assignor to Aktiebolaget Volvo" on July 10, 1962. In the patent, Bohlin explained his invention: "The object... is to provide a safety belt which independently of the strength of the seat and its connection with the vehicle in an effective and physiologically favorable manner retains the upper as well as the lower part of the body of the strapped person against the action of substantially forwardly directed forces and which is easy to fasten and unfasten and even in other respects satisfies rigid requirements."
Volvo released the new seat belt design to other car manufacturers, and it quickly became standard worldwide. The National Traffic and Motor Vehicle Safety Act of 1966 made seat belts a required feature on all new American vehicles from the 1968 model year onward. Though engineers have improved on seat belt design over the years, the basic structure is still Bohlin's.
The use of seat belts has been estimated to reduce the risk of fatalities and serious injuries from collisions by about 50 percent. In 2008, an all-time high 83 percent of front-seat occupants in the United States buckled their seat belts.
Jul 10, 1990:
Gorbachev re-elected as head of Communist Party
In a vindication of his sweeping economic and political reforms, Mikhail Gorbachev withstands severe criticisms from his opponents and is re-elected head of the Soviet Communist Party by an overwhelming margin. Gorbachev's victory was short-lived, however, as the Soviet Union collapsed in late 1991.
Gorbachev came to power in the Soviet Union in 1985 and immediately began to push forward with reforms in both Russia's domestic and foreign policies. On the domestic front, he argued for greater economic freedom and a gradual movement toward free market economics in certain fields. He also demanded more political freedom, and released a number of political prisoners. In his foreign policy, Gorbachev sought to thaw Cold War relations with the United States. He indicated his desire to work for substantive arms control measures, and began to curtail Soviet military and political involvement in nations such as Afghanistan and Angola. By 1990, many people celebrated Gorbachev as a savior for bringing true reform to the Soviet Union.
At home, however, Gorbachev was reviled by many Russian hard-liners that castigated him for weakening the hold of the Communist Party and for weakening its military power. During a Communist Party congress in July 1990, Gorbachev fired back at his critics. "There is no way to bring back the past, and no dictatorship--if someone still entertains this crazy idea--will solve anything," he declared. As for his domestic reforms, Gorbachev noted, "This is already a different society" that needed different policies. In response to the charge that he had been "soft" in dealing with anticommunist movements in Russia's eastern European allies, he shouted, "Well, do you want tanks again? Shall we teach them again how to live?" With Gorbachev's words ringing in their ears, the delegates to the congress re-elected him as head of the Soviet Communist Party.
Gorbachev's success, however, was extremely short-lived. While many applauded his reforms, by 1990 the Soviet Union was suffering from terrible economic problems, increasingly angry internal political squabbling, and a general feeling of uneasiness among the Russian people. In December 1991, with most of its eastern European allies already having overthrown their communist governments and with the Soviet republics seceding from the USSR, Gorbachev resigned as head of the Party and as president. With his action, the Soviet Union ceased to exist.
Jul 10, 1887:
Dam collapses in Switzerland, kills 70
On this day in 1887, a dam breaks in Zug, Switzerland, killing 70 people in their homes and destroying a large section of the town.
The dam at Zug was 80 feet high and made of concrete. When the dam was built, concrete-making and setting techniques were not as advanced as they are today. The water pressure on the dam slowly eroded the concrete, finally causing it to collapse on July 10.
The resulting wall of water was so powerful that it picked up and washed away large farm animals. It uprooted trees and carried them downstream toward the town. Unsuspecting patrons at a cafe lost their lives when the roaring water and debris suddenly descended upon them. Rescue boats launched to assist people caught up in the sudden flood were ineffective, as some of those on the boats drowned when they capsized in the roiling waters.
One report claimed that a baby was found alive floating in a cradle, but this story cannot be confirmed.
Jul 10, 1992:
The Exxon Valdez captain's conviction is overturned
The Alaska court of appeals overturns the conviction of Joseph Hazelwood, the former captain of the oil tanker Exxon Valdez. Hazelwood, who was found guilty of negligence for his role in the massive oil spill in Prince William Sound in 1989, successfully argued that he was entitled to immunity from prosecution because he had reported the oil spill to authorities 20 minutes after the ship ran aground.
The Exxon Valdez accident on the Alaskan coast was one of the largest environmental disasters in American history and resulted in the deaths of 250,000 sea birds, thousands of sea otters and seals, hundreds of bald eagles and countless salmon and herring eggs. The ship, 1,000 feet long and carrying 1.3 million barrels of oil, ran aground on Bligh Reef on March 24, 1989, after failing to return to the shipping lanes, which it had maneuvered out of to avoid icebergs. It later came to light that several officers, including Captain Hazelwood, had been drinking at a bar the night the Exxon Valdez left port. However, there wasn't enough evidence to support the notion that alcohol impairment had been responsible for the oil spill. Rather, poor weather conditions and preparation, combined with several incompetent maneuvers by the men steering the tanker, were deemed responsible for the disaster. Captain Hazelwood, who had prior drunk driving arrests, had a spotless record as a tanker captain before the Valdez accident.
Exxon compounded the environmental problems caused by the spill by not beginning the cleanup effort right away. In 1991, a civil suit resulted in a billion-dollar judgment against them. However, years later, while their appeal remained backlogged in the court system, Exxon still hadn't paid the damages.
The Exxon Valdez was repaired and had a series of different owners before being bought by a Hong Kong-based company, which renamed it the Dong Fang Ocean. It once again made headlines in November 2010 when it collided with another cargo ship off of China.
Jul 10, 1985:
The sinking of the Rainbow Warrior
In Auckland harbor in New Zealand, Greenpeace's Rainbow Warrior sinks after French agents in diving gear plant a bomb on the hull of the vessel. One person, Dutch photographer Fernando Pereira, was killed. The Rainbow Warrior, the flagship of international conservation group Greenpeace, had been preparing for a protest voyage to a French nuclear test site in the South Pacific.
Two days after the incident, French authorities denied responsibility in the bombing and continued to do so even after New Zealand police arrested two French secret service agents in Auckland. Under pressure from New Zealand authorities, the French government formed an inquiry to investigate the incident and after several weeks concluded that the French agents were merely spying on Greenpeace. Later in the year, however, a British newspaper uncovered evidence of French President Francois Mitterrand's authorization of the bombing plan, leading to several top-level resignations in Mitterrand's cabinet and an admission by French Prime Minister Laurent Fabius that the agents had sunk the vessel under orders.
In Auckland, the two agents pleaded guilty to the lesser charges of manslaughter and willful damage and were each sentenced to 10 years in prison. Following negotiations with the French government, New Zealand released them a year later. In 1992, President Mitterrand ordered a halt to French nuclear testing, but in 1995 it was resumed, and Greenpeace sent The Rainbow Warrior II to French Polynesia to protest and disrupt the tests.
Friends are like diamonds and diamonds are forever
Jul 11, 1804:
Burr slays Hamilton in duel
In a duel held in Weehawken, New Jersey, Vice President Aaron Burr fatally shoots his long-time political antagonist Alexander Hamilton. Hamilton, a leading Federalist and the chief architect of America's political economy, died the following day.
Alexander Hamilton, born on the Caribbean island of Nevis, came to the American colonies in 1773 as a poor immigrant. (There is some controversy as to the year of his birth, but it was either 1755 or 1757.) In 1776, he joined the Continental Army in the American Revolution, and his relentless energy and remarkable intelligence brought him to the attention of General George Washington, who took him on as an aid. Ten years later, Hamilton served as a delegate to the Constitutional Convention, and he led the fight to win ratification of the final document, which created the kind of strong, centralized government that he favored. In 1789, he was appointed the first secretary of the treasury by President Washington, and during the next six years he crafted a sophisticated monetary policy that saved the young U.S. government from collapse. With the emergence of political parties, Hamilton was regarded as a leader of the Federalists.
Aaron Burr, born into a prestigious New Jersey family in 1756, was also intellectually gifted, and he graduated from the College of New Jersey (later Princeton) at the age of 17. He joined the Continental Army in 1775 and distinguished himself during the Patriot attack on Quebec. A masterful politician, he was elected to the New State Assembly in 1783 and later served as state attorney. In 1790, he defeated Alexander Hamilton's father-in-law in a race for the U.S. Senate.
Hamilton came to detest Burr, whom he regarded as a dangerous opportunist, and he often spoke ill of him. When Burr ran for the vice presidency in 1796 on Thomas Jefferson's Democratic-Republican ticket (the forerunner of the Democratic Party), Hamilton launched a series of public attacks against Burr, stating, "I feel it is a religious duty to oppose his career." John Adams won the presidency, and in 1797 Burr left the Senate and returned to the New York Assembly.
In 1800, Jefferson chose Burr again as his running mate. Burr aided the Democratic-Republican ticket by publishing a confidential document that Hamilton had written criticizing his fellow Federalist President John Adams. This caused a rift in the Federalists and helped Jefferson and Burr win the election with 73 electoral votes each.
Under the electoral procedure then prevailing, president and vice president were not voted for separately; the candidate who received the most votes was elected president, and the second in line, vice president. The vote then went to the House of Representatives. What at first seemed but an electoral technicality--handing Jefferson victory over his running mate--developed into a major constitutional crisis when Federalists in the lame-duck Congress threw their support behind Burr. After a remarkable 35 tie votes, a small group of Federalists changed sides and voted in Jefferson's favor. Alexander Hamilton, who had supported Jefferson as the lesser of two evils, was instrumental in breaking the deadlock.
Burr became vice president, but Jefferson grew apart from him, and he did not support Burr's renomination to a second term in 1804. That year, a faction of New York Federalists, who had found their fortunes drastically diminished after the ascendance of Jefferson, sought to enlist the disgruntled Burr into their party and elect him governor. Hamilton campaigned against Burr with great fervor, and Burr lost the Federalist nomination and then, running as an independent for governor, the election. In the campaign, Burr's character was savagely attacked by Hamilton and others, and after the election he resolved to restore his reputation by challenging Hamilton to a duel, or an "affair of honor," as they were known.
Affairs of honor were commonplace in America at the time, and the complex rules governing them usually led to an honorable resolution before any actual firing of weapons. In fact, the outspoken Hamilton had been involved in several affairs of honor in his life, and he had resolved most of them peaceably. No such recourse was found with Burr, however, and on July 11, 1804, the enemies met at 7 a.m. at the dueling grounds near Weehawken, New Jersey. It was the same spot where Hamilton's son had died defending his father's honor two years before.
There are conflicting accounts of what happened next. According to Hamilton's "second"--his assistant and witness in the duel--Hamilton decided the duel was morally wrong and deliberately fired into the air. Burr's second claimed that Hamilton fired at Burr and missed. What happened next is agreed upon: Burr shot Hamilton in the stomach, and the bullet lodged next to his spine. Hamilton was taken back to New York, and he died the next afternoon.
Few affairs of honor actually resulted in deaths, and the nation was outraged by the killing of a man as eminent as Alexander Hamilton. Charged with murder in New York and New Jersey, Burr, still vice president, returned to Washington, D.C., where he finished his term immune from prosecution.
In 1805, Burr, thoroughly discredited, concocted a plot with James Wilkinson, commander-in-chief of the U.S. Army, to seize the Louisiana Territory and establish an independent empire, which Burr, presumably, would lead. He contacted the British government and unsuccessfully pleaded for assistance in the scheme. Later, when border trouble with Spanish Mexico heated up, Burr and Wilkinson conspired to seize territory in Spanish America for the same purpose.
In the fall of 1806, Burr led a group of well-armed colonists toward New Orleans, prompting an immediate U.S. investigation. General Wilkinson, in an effort to save himself, turned against Burr and sent dispatches to Washington accusing Burr of treason. In February 1807, Burr was arrested in Louisiana for treason and sent to Virginia to be tried in a U.S. court. In September, he was acquitted on a technicality. Nevertheless, public opinion condemned him as a traitor, and he fled to Europe. He later returned to private life in New York, the murder charges against him forgotten. He died in 1836.
Jul 11, 1916:
President Woodrow Wilson signs Federal Aid Road Act
On this day in 1916, in a ceremony at the White House, President Woodrow Wilson signs the Federal Aid Road Act. The law established a national policy of federal aid for highways.
From the mid-19th century, the building and maintenance of roads had been seen as a state and local responsibility. As a result, America's roads were generally in poor condition, especially in rural areas. As the so-called Progressive Era dawned near the turn of the 20th century, attitudes began to change, and people began to look towards government to provide better roads, among other infrastructure improvements. The first federal aid bill was submitted to Congress in 1902, proposing the creation of a Bureau of Public Roads. With the rise of the automobile--especially after Henry Ford introduced the affordable Model T in 1908, putting more Americans on the road than ever before--Congress was pushed to go even further.
In the 1907 case Wilson v. Shaw, the U.S. Supreme Court officially gave Congress the power "to construct interstate highways" under its constitutional right to regulate interstate commerce. In 1912, Congress enacted the Post Office Department Appropriations Bill, which set aside $500,000 for an experimental program to improve the nation's post roads (roads over which mail is carried). The program proved too small to make significant improvements, but it taught Congress that federal aid for roads needed to go to the states instead of local counties in order to be effective.
Serious consideration of a federal road program began in early 1916. There were two competing interest groups at stake: Farmers wanted sturdy, all-weather post roads to transport their goods, and urban motorists wanted paved long-distance highways. The bill that both houses of Congress eventually approved on June 27, 1916, and that Wilson signed into law that July 11, leaned in the favor of the rural populations by appropriating $75 million for the improvement of post roads. It included the stipulation that all states have a highway agency staffed by professional engineers who would administer the federal funds and ensure that all roads were constructed properly.
In addition to enabling rural Americans to participate more efficiently in the national economy, the Federal Aid Road Act was a precursor to the Federal Highway Act of 1921, which provided federal aid to the states for the building of an interconnected interstate highway system. The interstate highway issue would not be fully addressed until much later, when the Federal Highway Act of 1956 allocated more than $30 billion for the construction of some 41,000 miles of interstate highways.
Jul 11, 1945:
Soviets agree to hand over power in West Berlin
Fulfilling agreements reached at various wartime conferences, the Soviet Union promises to hand power over to British and U.S. forces in West Berlin. Although the division of Berlin (and of Germany as a whole) into zones of occupation was seen as a temporary postwar expedient, the dividing lines quickly became permanent. The divided city of Berlin became a symbol for Cold War tensions.
During a number of wartime conferences, the United States, Great Britain, and the Soviet Union agreed that following the defeat of Germany, that nation would be divided into three zones of occupation. Berlin, the capital city of Germany, would likewise be divided. When the war in Europe ended in May 1945, however, Soviet troops were in complete control of eastern Germany and all of Berlin. Some U.S. officials, who had come to see the Soviet Union as an emerging threat to the postwar peace in Europe, believed that the Soviets would never relinquish control over any part of Berlin. However, on July 11, 1945, the Russian government announced that it would hand over all civilian and military control of West Berlin to British and American forces. This was accomplished, without incident, the following day. (The United States and Great Britain would later give up part of their zones of occupation in Germany and Berlin to make room for a French zone of occupation.)
In the years to come, West Berlin became the site of some notable Cold War confrontations. During 1948 and 1949, the Soviets blocked all land travel into West Berlin, forcing the United States to establish the Berlin Airlift to feed and care for the population of the city. In 1961, the government of East Germany constructed the famous Berlin Wall, creating an actual physical barrier to separate East and West Berlin. The divided city came to symbolize the animosities and tensions of the Cold War. In 1989, with communist control of East Germany crumbling, the Berlin Wall was finally torn down. The following year, East and West Germany formally reunited.
Jul 11, 1978:
Gas fire incinerates crowded campsite
On this day in 1978, a truck carrying liquid gas crashes into a campsite, crowded with vacationers, in San Carlos de la Rapita, Spain. The resulting explosion killed more than 200 people; many others suffered severe burns.
Shortly after 3 p.m. on a hot day on the Mediterranean coast of Spain, a 38-ton truck carrying propylene gas, used in the manufacture of alcohol, was traveling on a small, winding road 120 miles south of Barcelona. The truck, owned by Cisternas Reunidas, may have been on this coastal road instead of the nearby turnpike in order to avoid paying a toll. For unknown reasons, the truck crashed into a cement wall. (Some witnesses report seeing a fire on the truck before the crash.)
Down a hill from the cement wall, 800 people, mostly families on vacation from Germany and France, were camped out near the beach in tents and makeshift bungalows. The truck, carrying 1,500 cubic feet of pressurized liquid gas, plunged down the hill and exploded in a massive fireball. Flames shot up 100 feet into the air, killing many people instantly. The resulting crater was 20 yards in diameter. The huge fire and explosion also caused the camper's portable gas units and cars to blow up. Few of the survivors were wearing any protective clothing other than a bathing suit and many of them suffered horrible burns.
The timing of the disaster also contributed to the high casualty toll. Coming just after lunch, many people had not yet returned to the nearby beach. In all, 215 people lost their lives. So many German citizens were involved that German officials arranged for an airlift of doctors and equipment from Stuttgart to assist in the relief effort.
Jul 11, 1979:
Skylab crashes to Earth
Parts of Skylab, America's first space station, come crashing down on Australia and into the Indian Ocean five years after the last manned Skylab mission ended. No one was injured.
Launched in 1973, Skylab was the world's first successful space station. The first manned Skylab mission came two years after the Soviet Union launched Salynut 1, the world's first space station, into orbit around the earth. However, unlike the ill-fated Salynut, which was plagued with problems, the American space station was a great success, safely housing three separate three-man crews for extended periods of time.
Originally the spent third stage of a Saturn 5 moon rocket, the cylindrical space station was 118 feet tall, weighed 77 tons, and carried the most varied assortment of experimental equipment ever assembled in a single spacecraft to that date. The crews of Skylab spent more than 700 hours observing the sun and brought home more than 175,000 solar pictures. They also provided important information about the biological effects of living in space for prolonged periods of time.
Five years after the last Skylab mission, the space station's orbit began to deteriorate--earlier than was anticipated--because of unexpectedly high sunspot activity. On July 11, 1979, Skylab made a spectacular return to earth, breaking up in the atmosphere and showering burning debris over the Indian Ocean and Australia.
Jul 11, 1922:
Hollywood Bowl opens
On this day in 1922, the Hollywood Bowl, one of the world�s largest natural amphitheaters, opens with a performance by the Los Angeles Philharmonic. Since that time, a long, diverse list of performers, including The Beatles, Luciano Pavarotti and Judy Garland, have appeared on stage at the Hollywood Bowl. The venue has become a famous Los Angeles landmark and has been featured in numerous movies.
As the official summer home of the Los Angeles Philharmonic, the Hollywood Bowl has hosted such famous conductors as Arthur Rubinstein, Itzhak Perlman and Vladimir Horowitz, along with opera singers Jessye Norman, Beverly Sills and Placido Domingo. Dancers from Fred Astaire to Mikhail Baryshnikov have graced the stage, as have entertainers including Abbott and Costello, Al Jolson, Billie Holiday, Garth Brooks and Elton John.
When the Hollywood Bowl opened, its stage was a wooden platform with a canvas top and audiences sat on moveable benches set on the hillsides of the surrounding canyon. In 1926, a group of Los Angeles architects built the Hollywood Bowl�s first shell. Since that time, various architects, including Frank Lloyd Wright�s son, Lloyd Wright, and Frank Gehry, have made improvements to the venue�s structure and acoustics. Today, the Hollywood Bowl seats nearly 18,000. Its paid attendance record of 26,410 was set in August 1936 for a performance by French opera star Lily Pons.
As a Los Angeles icon, the Hollywood Bowl has been featured in a number of films, including A Star is Born (1937) and Beaches (1988). In one particularly memorable appearance, in the film, Olly Olly Oxen Free (1978), according to the Bowl�s official Web site, Hollywoodbowl.com: �Katharine Hepburn, having refused a stunt double, lands a hot-air balloon herself in front of the Hollywood Bowl stage during a performance of the 1812 Overture.�
Jul 11, 1966:
Public opinion approves bombing of North Vietnam
A Harris survey taken shortly after the bombing raids on the Hanoi-Haiphong area shows that 62 percent of those interviewed favored the raids, 11 percent were opposed, and 27 percent were undecided. Of those polled, 86 percent felt the raids would hasten the end of the war. The raids under discussion were part of the expansion of Operation Rolling Thunder, which had begun in March 1965.
Friends are like diamonds and diamonds are forever
Jul 12, 1984:
Ferraro named vice presidential candidate
Walter Mondale, the leading Democratic presidential candidate, announces that he has chosen Representative Geraldine Ferraro of New York as his running mate. Ferraro, a daughter of Italian immigrants, had previously gained notoriety as a vocal advocate of women's rights in Congress.
Four days after Ferraro was named vice presidential candidate, Governor Mario Cuomo of New York opened the Democratic National Convention in San Francisco with an impassioned retort to Republican President Ronald Reagan's contention that the United States was a "shining city on a hill." Citing widespread poverty and racial strife, Cuomo derided President Reagan as oblivious to the needs and problems of many of America's citizens. His enthusiastic keynote address inaugurated a convention that saw Ferraro become the first woman nominated by a major party for the vice presidency. However, Mondale, the former U.S. vice president under Jimmy Carter, proved a lackluster choice for the Democratic presidential nominee.
On November 6, President Reagan and Vice President George Bush defeated the Mondale-Ferraro ticket in the greatest Republican landslide in U.S. history. The Republicans carried every state but Minnesota--Mondale's home state.
Ferraro left Congress in 1985. In 1992 and 1998, she made unsuccessful bids for a U.S. Senate seat. During President Bill Clinton's administration, she was a permanent member on the United Nations Commission on Human Rights.
Jul 12, 1933:
First Dymaxion car produced
The first three-wheeled, multi-directional Dymaxion car--designed by the architect, engineer and philosopher Buckminster Fuller--is manufactured in Bridgeport, Connecticut, on this day in 1933.
Born in Massachusetts in 1895, Fuller set out to live his life as (in his own words) "an experiment to find what a single individual can contribute to changing the world and benefiting all humanity." After making up the world "Dymaxion" as a combination of the words "dynamic," "maximum" and "ion," he took the word as his own personal brand. Among his groundbreaking creations were the geodesic dome and the Dymaxion house, which was made of lightweight aluminum and could be shipped by air and assembled on site.
In 1927, Fuller first sketched the Dymaxion car under the name "4D transport." Part aircraft, part automobile, it had wings that inflated. Five years later, Fuller asked his friend, the sculptor Isamu Noguchi, to make more sketches of the car. The result was an elongated teardrop design, with a rear third wheel that lifted off the ground and a tail fin. Fuller set up production of the Dymaxion car in a former Locomobile factory in Bridgeport in March 1933. The first model rolled out of the Bridgeport factory on July 12, 1933--Fuller's 38th birthday. It had a steel chassis (or frame) and a body made of ash wood, covered with an aluminum skin and topped with a painted canvas roof. It was designed to be able to reach a speed of 120 miles per hour and average 28 miles per gallon of gasoline.
Sold to Gulf Oil, the Dymaxion car went on display at the Century of Progress exposition in Chicago. That October, however, the professional driver Francis Turner was killed after the Dymaxion car turned over during a demonstration. An investigation cleared Dymaxion of responsibility, but investors became scarce, despite the enthusiasm of the press and of celebrities such as the novelist H.G. Wells and the painter Diego Rivera.
Along with the Nazi-built KdF-wagen (the forerunner of the Volkswagen Beetle), the Dymaxion was one of several futuristic, rear-engined cars developed during the 1930s. Though it was never mass-produced, the Dymaxion helped lead to public acceptance of new streamlined passenger cars, such as the 1936 Lincoln Zephyr. In 2008, the only surviving Dymaxion was featured in an exhibit dedicated to Fuller's work at the Whitney Museum of American Art in New York City. An article published in The New York Times about the exhibit recalled Fuller's own impressions of the Dymaxion: "I knew everyone would call it a car," he told the literary critic Hugh Kenner in the 1960s; instead, it was actually "the land-taxiing phase of a wingless, twin orientable jet stilts flying device."
Jul 12, 1990:
Yeltsin resigns from Communist Party
Just two days after Mikhail Gorbachev was re-elected head of the Soviet Communist Party, Boris Yeltsin, president of the Republic of Russia, announces his resignation from the Party. Yeltsin's action was a serious blow to Gorbachev's efforts to keep the struggling Soviet Union together.
In July 1990, Soviet Communist Party leaders met in a congress for debate and elections. Gorbachev, who had risen to power in the Soviet Union in 1985, came under severe attack from Communist Party hard-liners. They believed that his political and economic reforms were destroying the Party's control of the nation. Gorbachev fired back at his critics during a speech in which he defended his reforms and attacked the naysayers as backward-looking relics from the dark past of the Soviet Union. He was rewarded with an overwhelming vote in favor of his re-election as head of the Communist Party. Just two days after that vote, however, Yeltsin shattered the illusion that Gorbachev's victory meant an end to political infighting in the Soviet Union. Yeltsin had been a consistent critic of Gorbachev, but his criticisms stemmed from a belief that Gorbachev was moving too slowly in democratizing the Soviet political system. Yeltsin's dramatic announcement of his resignation from the Communist Party was a clear indication that he was demanding a multiparty political system in the Soviet Union. It was viewed as a slap in the face to Gorbachev and his policies.
During the next year and a half, Gorbachev's power gradually waned, while Yeltsin's star rose. In December 1991, Gorbachev resigned as president of the Soviet Union and the Soviet Union officially dissolved. Yeltsin, however, retained his position of power as president of Russia. In their own particular ways, both men had overseen the dissolution of the Soviet Union and the end of the Cold War.
Yeltsin remained president of Russia until December 31, 1999, when he resigned. Despite his attempts at economic reform, his tenure in office saw the country's economy falter badly, including a near-complete collapse of its currency. His administration was also marked by rampant corruption, an invasion of Chechnya and a series of bizarre incidents involving Yeltsin that were reputedly a result of his alcoholism. Yeltsin's opponents twice tried to impeach him. With his resignation, Prime Minsiter Vladimir Putin became acting president until new elections could be held. On March 26, 2000, Putin became Russia's new president.
Jul 12, 1861:
Wild Bill Hickok's first gunfight
Wild Bill Hickok begins to establish his reputation as a gunfighter after he coolly shoots three men during a shootout in Nebraska.
Born in Homer (later called Troy Grove), Illinois, James Butler Hickok moved to Kansas in 1855 at the age of 18. There he filed a homestead claim, took odd jobs, and began calling himself by his father's name, Bill. A skilled marksman, Hickok honed his abilities as a gunslinger. Though Hickok was not looking for trouble, he liked to be ready to defend himself, and his ability with a pistol soon proved useful.
By the summer of 1861, Hickok was working as a stock tender at a stage depot in Nebraska called Rock Creek Station. Across the creek lived Dave McCanles, a mean-spirited man who disliked Hickok for some reason. McCanles enjoyed insulting the young stockman, calling him Duck Bill and claiming he was a hermaphrodite. Hickok took his revenge by secretly romancing McCanles' mistress, Sarah Shull.
On this day in 1861, the tension between Hickok and McCanles came to a head. McCanles may have learned about the affair between Shull and Hickok, though his motivations are not clear. He arrived at the station with two other men and his 12-year-old-son and exchanged angry words with the station manager. Then McCanles spotted Hickok standing behind a curtain partition. He threatened to drag "Duck Bill" outside and give him a thrashing. Demonstrating remarkable coolness for a 24-year-old who had never been involved in a gunfight, Hickok replied, "There will be one less son-of-a-bitch when you try that."
McCanles ignored the warning. When he approached the curtain, Hickok shot him in the chest. McCanles staggered out of the building and died in the arms of his son. Hearing the shots, the two other gunmen ran in. Hickok shot one of them twice and winged the other. The other workers at the station finished them off.
The story of Hickok's first gunfight spread quickly, establishing his reputation as a skilled gunman. In 1867, Harper's New Monthly Magazine published a highly exaggerated account of the shoot-out which claimed Hickok had single-handedly killed nine men. The article quoted Hickok as saying, "I was wild and I struck savage blows." Thus began the legendary career of "Wild Bill."
For the next 15 years, Hickok would further embellish his reputation with genuine acts of daring, though the popular accounts continued to exceed the reality. He died in 1876 at the age of 39, shot in the back of the head by a young would-be gunfighter looking for fame.
Jul 12, 1995:
Heat wave hits Chicagoland
On this day in 1995, a heat advisory is issued in Chicago, Illinois, warning of an impending record-breaking heat wave. By the time the heat breaks a week later, nearly 1,000 people are dead in Illinois and Wisconsin.
On July 13, the temperature in the city hit 106 degrees Fahrenheit and the heat index, which combines temperature with humidity for an estimate of how hot it feels, was above 120 F. During the week, the daytime temperature never went below the mid-90s and even the nighttime temperature stayed in the mid-80s. The use of air conditioning by those who had it caused records to be set for energy use and, subsequently, some power failures. People opened so many hydrants to cool themselves off in the streets that water pressure in several communities was lost. Attempts to close the hydrants were often met with violent resistance. When the heat warped train rails and made them unusable, commuting delays became common.
The young and the old were the most vulnerable to the heat. Hundreds of children were hospitalized from heat ailments. By July 14, paramedics and area hospitals were overwhelmed and unable to keep up with the continuing emergency. Soon, the corpses began to pile up. At the Chicago morgue, 17 bodies were usually handled per day. But just midway through the heat wave, there was a backlog of hundreds of bodies. Refrigerated trucks had to be brought in to hold the excess.
Most of those who died were older men who lived alone, despite the fact that senior women outnumbered senior men in the area. Researchers believe that strength of social connections to the community, which can be greater with women, was the most important factor in determining who became a victim of the heat wave.
Without any explicit criteria about how to identify a death due to heat, it was difficult to accurately count the deaths from the disaster. However, about 740 more people died in Chicago during the heat wave than in a normal week. Cook County's chief medical examiner, Edmund Donoghue, estimated that there were 465 heat-related deaths in the city. Mayor Richard Daley questioned this number, but may have been trying to downplay the toll to avoid criticism of the city's poor preparations for the heat. In fact, it was several days into the heat wave before the city implemented its heat-emergency plan.
Four years later, when another heat wave hit the city, better preparation and a more rapid response limited the deaths to just over 100.
Jul 12, 1862:
Medal of Honor created
President Abraham Lincoln signs into law a measure calling for the awarding of a U.S. Army Medal of Honor, in the name of Congress, "to such noncommissioned officers and privates as shall most distinguish themselves by their gallantry in action, and other soldier-like qualities during the present insurrection." The previous December, Lincoln had approved a provision creating a U.S. Navy Medal of Valor, which was the basis of the Army Medal of Honor created by Congress in July 1862. The first U.S. Army soldiers to receive what would become the nation's highest military honor were six members of a Union raiding party who in 1862 penetrated deep into Confederate territory to destroy bridges and railroad tracks between Chattanooga, Tennessee, and Atlanta, Georgia.
In 1863, the Medal of Honor was made a permanent military decoration available to all members, including commissioned officers, of the U.S. military. It is conferred upon those who have distinguished themselves in actual combat at risk of life beyond the call of duty. Since its creation, during the Civil War, almost 3,400 men and one woman have received the Medal of Honor for heroic actions in U.S. military conflict.
Jul 12, 1861:
Confederacy signs treaties with Native Americans
Special commissioner Albert Pike completes treaties with the members of the Choctaw and Chickasaw tribes, giving the new Confederate States of America several allies in Indian Territory. Some members of the tribes also fought for the Confederacy.
A Boston native, Pike went west in 1831 and traveled with fur trappers and traders. He settled in Arkansas and became a noted poet, author, and teacher. He bought a plantation and operated a newspaper, the Arkansas Advocate. By 1837 he was practicing law and often represented Native Americans in disputes with the federal government.
Pike was opposed to secession but nonetheless sided with his adopted state when it left the Union. As ambassador to the Indians, he was a fortunate addition to the Confederacy, which was seeking to form alliances with the tribes of Indian Territory. Besides the agreements with the Choctaw and Chickasaw tribes, Pike also engineered treaties with the Creek, Seminole, Comanche, and Caddos, among others.
Ironically, many of these tribes had been expelled from the Southern states in the 1830s and 1840s but still chose to ally themselves with those states during the war. The grudges they held against the Confederate states were offset by their animosity toward the federal government. Native Americans were also bothered by Republican rhetoric during the 1860 election. Some of Abraham Lincoln's supporters, such as William Seward, argued that the land of the tribes in Indian Territory should be appropriated for distribution to white settlers. When the war began in 1861, Secretary of War Simon Cameron ordered all posts in Indian Territory abandoned to free up military resources for use against the Confederacy, leaving the area open to invasion by the Confederates.
By signing these treaties, the tribes severed their relationships with the federal government, much in the way the southern states did by seceding from the Union. They were accepted into the Confederates States of America, and they sent representatives to the Confederate Congress. The Confederate government promised to protect the Native American's land holdings and to fulfill the obligations such as annuity payments made by the federal government.
Some of these tribes even sent troops to serve in the Confederate army, and one Cherokee, Stand Watie, rose to the rank of brigadier general.
Friends are like diamonds and diamonds are forever
Jul 13, 1985:
Live Aid concert
On July 13, 1985, at Wembley Stadium in London, Prince Charles and Princess Diana officially open Live Aid, a worldwide rock concert organized to raise money for the relief of famine-stricken Africans. Continued at JFK Stadium in Philadelphia and at other arenas around the world, the 16-hour "superconcert" was globally linked by satellite to more than a billion viewers in 110 nations. In a triumph of technology and good will, the event raised more than $125 million in famine relief for Africa.
Live Aid was the brainchild of Bob Geldof, the singer of an Irish rock group called the Boomtown Rats. In 1984, Geldof traveled to Ethiopia after hearing news reports of a horrific famine that had killed hundreds of thousands of Ethiopians and threatened to kill millions more. After returning to London, he called Britain's and Ireland's top pop artists together to record a single to benefit Ethiopian famine relief. "Do They Know It's Christmas?" was written by Geldof and Ultravox singer Midge Ure and performed by "Band Aid," an ensemble that featured Culture Club, Duran Duran, Phil Collins, U2, Wham!, and others. It was the best-selling single in Britain to that date and raised more than $10 million.
"Do They Know It's Christmas?" was also a No. 1 hit in the United States and inspired U.S. pop artists to come together and perform "We Are the World," a song written by Michael Jackson and Lionel Ritchie. "USA for Africa," as the U.S. ensemble was known, featured Jackson, Ritchie, Geldof, Harry Belafonte, Bob Dylan, Cyndi Lauper, Paul Simon, Bruce Springsteen, Tina Turner, Stevie Wonder, and many others. The single went to the top of the charts and eventually raised $44 million.
With the crisis continuing in Ethiopia, and the neighboring Sudan also stricken with famine, Geldof proposed Live Aid, an ambitious global charity concert aimed at raising more funds and increasing awareness of the plight of many Africans. Organized in just 10 weeks, Live Aid was staged on Saturday, July 13, 1985. More than 75 acts performed, including Elton John, Madonna, Santana, Run DMC, Sade, Sting, Bryan Adams, the Beach Boys, Mick Jagger, David Bowie, Queen, Duran Duran, U2, the Who, Tom Petty, Neil Young, and Eric Clapton. The majority of these artists performed at either Wembley Stadium in London, where a crowd of 70,000 turned out, or at Philadelphia's JFK Stadium, where 100,000 watched. Thirteen satellites beamed a live television broadcast of the event to more than one billion viewers in 110 countries. More than 40 of these nations held telethons for African famine relief during the broadcast.
A memorable moment of the concert was Phil Collins' performance in Philadelphia after flying by Concorde from London, where he performed at Wembley earlier in the day. He later played drums in a reunion of the surviving members of Led Zeppelin. Beatle Paul McCartney and the Who's Pete Townsend held Bob Geldof aloft on their shoulders during the London finale, which featured a collective performance of "Do They Know It's Christmas?" Six hours later, the U.S. concert ended with "We Are the World."
Live Aid eventually raised $127 million in famine relief for African nations, and the publicity it generated encouraged Western nations to make available enough surplus grain to end the immediate hunger crisis in Africa. Geldof was later knighted by Queen Elizabeth II for his efforts.
In early July 2005, Geldof staged a series of "Live 8" concerts in 11 countries around the world to help raise awareness of global poverty. Organizers, led by Geldof, purposely scheduled the concert days before the annual G8 summit in an effort to increase political pressure on G8 nations to address issues facing the extremely poor around the world. Live 8 claims that an estimated 3 billion people watched 1,000 musicians perform in 11 shows, which were broadcast on 182 television networks and by 2,000 radio stations. Unlike Live Aid, Live 8 was intentionally not billed as a fundraiser--Geldof's slogan was, "We don't want your money, we want your voice." Perhaps in part because of the spotlight brought to such issues by Live 8, the G8 subsequently voted to cancel the debt of 18 of the world's poorest nations, make AIDS drugs more accessible, and double levels of annual aid to Africa, to $50 billion by 2010.
Jul 13, 1978:
Henry Ford II fires Lee Iacocca
On this day in 1978, Ford Motor Company chairman Henry Ford II fires Lee Iacocca as Ford's president, ending years of tension between the two men.
Born to an immigrant family in Pennsylvania in 1924, Iacocca was hired by Ford as an engineer in 1946 but soon switched to sales, at which he clearly excelled. By 1960, Iaccoca had become a vice president and general manager of the Ford division, the company's largest marketing arm. He successfully championed the design and development of the sporty, affordable Ford Mustang, an achievement that landed him on the covers of Time and Newsweek magazines in the same week in 1964.
In December 1970, Henry Ford II named Iacocca president of Ford, but his brash, unorthodox style soon brought him into conflict with his boss. According to Douglas Brinkley's history of Ford "Wheels for the World," Henry authorized $1.5 million in company funds for an investigation of Iacocca's business and private life in 1975. Suffering from a heart condition and aware that the time for his retirement was approaching, Ford made it clear that he eventually wanted to turn the company over to his son Edsel, then just 28. In early 1978, Iacocca was told he would report to another Ford executive, Philip Caldwell, who was named deputy chief executive officer. In his increasingly public struggle with Ford, Iacocca made an attempt to find support among the company's board of directors, giving Ford the excuse he needed to fire him. As Iacocca later wrote in his bestselling autobiography, Ford called Iacocca into his office shortly before 3 pm on July 13, 1978 and let him go, telling him "Sometimes you just don't like somebody."
News of the firing shocked the industry, but it turned into a boon for Iacocca. The following year, he was hired as president of the Chrysler Corporation, which at the time was facing bankruptcy. Iacocca went to the federal government for aid, banking on his belief that the government would not let Chrysler fail for fear of weakening an already slumping economy. The gamble paid off, with Congress agreeing to bail out Chrysler to the tune of $1.5 billion. Iacocca streamlined the company's operations, focused on producing more fuel-efficient cars and pursued an aggressive marketing strategy based on his own powerful personality. After showing a small profit in 1981, Chrysler posted record profits of more than $2.4 billion in 1984. By then a national celebrity, Iacocca retired as chief executive of Chrysler in 1992.
Jul 13, 1948:
Democratic Party platform defends Roosevelt-Truman foreign policies
As the 1948 presidential campaign begins to heat up, the Democratic Party hammers out a platform that contains a stirring defense of the foreign policies of Franklin D. Roosevelt and President Harry S. Truman. The tone of the platform indicated that foreign policy, and particularly the nation's Cold War policies, would be a significant part of the 1948 campaign.
Throughout 1948, President Truman had been put on the defensive by Republican critics who suggested that former President Roosevelt had been too "soft" in dealing with the Soviet Union during World War II. The Republicans also criticized Truman's Cold War policies, calling them ineffective and too costly. By the time the Democratic Party met to nominate Truman for re-election and construct its platform, Truman was already an underdog to the certain Republican nominee, Governor Thomas E. Dewey. The foreign policy parts of the Democratic platform, announced on July 13, 1948, indicated that Truman was going to fight fire with fire. The platform strongly suggested that the Democratic administration of Franklin D. Roosevelt was primarily responsible for America's victory in World War II, and was entirely responsible for establishing the United Nations. After World War II, the document continued, Truman and the Democrats in Congress had rallied the nation to meet the communist threat. The Truman Doctrine, by which Greece and Turkey were saved from communist takeovers, and the Marshall Plan, which rescued Western Europe from postwar chaos, were the most notable results of the Democrats' foreign policy.
Some of Truman's advisers had cautioned him to take a more conciliatory stance on foreign policy issues in the platform, emphasizing the bipartisan nature of U.S. foreign policy since World War II. The pugnacious Truman would have none of that. He was proud of his record of "facing up to the Russians," and decided to rise or fall in the 1948 election based on his accomplishments both at home and abroad. Events proved Truman wise in his approach. Despite the fact that nearly every newspaper and polling organization in the United States picked Dewey to triumph, Truman squeaked by in 1948 in one of the most memorable political upsets in American history.
Jul 13, 1951:
Record-breaking floods hit Kansas
On this day in 1951, rivers across eastern Kansas crest well above flood stage, causing the greatest destruction from flooding in the midwestern United States to that time. Five-hundred-thousand people were left homeless and 24 people died in the disaster.
The above-average rainfall began in June and continued through July 13, dumping well over 25 inches on some areas in eastern Kansas. From July 9 to 13, nearly 6 inches of rain fell. The Kansas, Neosho and Verdigris rivers began taking on more water than their normal carrying capacity a couple of days into the storm. As the rain persisted, flooding began all over the region.
The major towns of Manhattan, Topeka and Lawrence were most affected. The July 13 crest exceeded all previous highs by four to nine feet. Two million acres of farmland were lost to the flood. In addition, the flooding caused fires and explosions in refinery oil tanks on the banks of the Kansas River. Some train passengers traveling through the area were stuck on their trains for nearly four days. In all, $760 million in damages were caused by the flood.
Following the great 1951 flood, a series of reservoirs and levees were constructed all over the area. In 1993, these were credited with minimizing the damage from another record flood.
Jul 13, 1793:
Charlotte Corday assassinates Marat
Jean Paul Marat, one of the most outspoken leaders of the French Revolution, is stabbed to death in his bath by Charlotte Corday, a Royalist sympathizer.
Originally a doctor, Marat founded the journal L'Ami du Peuple in 1789, and its fiery criticism of those in power was a contributing factor to the bloody turn of the Revolution in 1792. With the arrest of the king in August of that year, Marat was elected as a deputy of Paris to the Convention. In France's revolutionary legislature, Marat opposed the Girondists--a faction made up of moderate republicans who advocated a constitutional government and continental war.
By 1793, Charlotte Corday, the daughter of an impoverished aristocrat and an ally of the Girondists in Normandy, came to regard Marat as the unholy enemy of France and plotted his assassination. Leaving her native Caen for Paris, she had planned to kill Marat at the Bastille Day parade on July 14 but was forced to seek him out in his home when the festivities were canceled. On July 13, she gained an audience with Marat by promising to betray the Caen Girondists. Marat, who had a persistent skin disease, was working as usual in his bath when Corday pulled a knife from her bodice and stabbed him in his chest. He died almost immediately, and Corday waited calmly for the police to come and arrest her. She was guillotined four days later.
Jul 13, 1943:
Largest tank battle in history ends
The Battle of Kursk, involving some 6,000 tanks, two million men, and 5,000 aircraft, ends with the German offensive repulsed by the Soviets at heavy cost.
In early July, Germany and the USSR concentrated their forces near the city of Kursk in western Russia, site of a 150-mile-wide Soviet pocket that jutted 100 miles into the German lines. The German attack began on July 5, and 38 divisions, nearly half of which were armored, began moving from the south and the north. However, the Soviets had better tanks and air support than in previous battles, and in bitter fighting Soviet antitank artillery destroyed as much as 40 percent of the German armor, which included their new Mark VI Tiger tanks. After six days of warfare concentrated near Prokhorovka, south of Kursk, the German Field Marshal Gunther von Kluge called off the offensive, and by July 23 the Soviets had forced the Germans back to their original positions.
In the beginning of August, the Soviets began a major offensive around the Kursk salient, and within a few weeks the Germans were in retreat all along the eastern front.
Jul 13, 1960:
Kennedy nominated for presidency
In Los Angeles, California, Senator John F. Kennedy of Massachusetts is nominated for the presidency by the Democratic Party Convention, defeating Senator Lyndon B. Johnson of Texas. The next day, Johnson was named Kennedy's running mate by a unanimous vote of the convention.
Four months later, on November 8, Kennedy won 49.7 percent of the popular vote in one of the closest presidential elections in U.S. history, surpassing by a fraction the 49.6 percent received by Vice President Richard M. Nixon, a Republican.
On January 20, 1961, on the steps of the Capitol in Washington, D.C., John Fitzgerald Kennedy was inaugurated as the 35th president of the United States. A fourth-generation Irish American, Kennedy was also the nation's first Catholic president. During his famous inauguration address, Kennedy, the youngest candidate ever elected to the presidency, declared that "the torch has been passed to a new generation of Americans" and appealed to Americans to "ask not what your country can do for you, ask what you can do for your country."
Kennedy, his wife Jacqueline, and the large Kennedy clan seemed fitting representatives of the youthful spirit of America during the early 1960s, and the Kennedy White House was idealized by admirers as a modern-day "Camelot." In foreign policy, Kennedy actively fought communism in the world, ordering the controversial Bay of Pigs invasion of Cuba and sending thousands of U.S. military "advisers" to Vietnam. During the Cuban Missile Crisis, he displayed firmness and restraint, exercising an unyielding opposition to the placement of Soviet missiles in Cuba but also demonstrating a level-headedness during tense negotiations for their removal. On the domestic front, he introduced his "New Frontier" social legislation, calling for a rigorous federal desegregation policy and a sweeping new civil rights bill. On November 22, 1963, after less than three years in office, Kennedy was assassinated while riding in an open-car motorcade with his wife in Dallas, Texas.
Friends are like diamonds and diamonds are forever
This is a figurative speach but seems like true.
Raw materials are needed to build a better world
The general belief was that the previous our leaders are no good.
One and then the other, The last one is very bad and the other before was worst.
So I begin to suspect that the problem is not the politicians.
The problem is in us. We as a people.
We as a raw material of this world.
Because I belong to a world where the currency is CUNNING
always valued as much or more than the euro or the dolar.
A world where getting rich overnight is a virtue
more appreciated than a family
based on values and respect for others.
I belong to a world where private companies are providing special
their employees not honest, who take home,
as if it were correct, sheets of paper, pencils, pens, paper clips and anything that might be useful
to the children, their wife ... and themselves.
I belong to a world where people feel smart because
they were able to buy a fake cable TV decoder,
where the diaper tax return for not paying or paying less tax.
I belong to a world:
-Where the lack of punctuality is a habit;
-Where the directors of the companies do not value human capital.
-Where there is little interest in ecology, where people throw trash on the streets and then
complain of the government for not cleaning the sewers.
-Where do people complain that the light and water services are expensive
and try to forget the oil and all the lifes energy costs and good water will do either.
-Where there is no culture of reading (where our young people say
is 'very annoying to have to read') and there is no consciousness or memory
political, historical or economic.
-Where our politicians work two days a week to approve projects and laws
that only serve to hunt the poor, the middle class tease
and benefit a few.
I belong to a world where driving licenses and medical statements
can be 'bought', without making any examination.
-A world where a person of advanced age or a woman with a child in her arms,
or a cripple, stands on the bus, while the person sitting
pretends to sleep not to give the place.
-A world in which the right of way is for the car
and not to the pedestrian.
-A world where we do many things wrong,
but we always criticize our rulers.
The more I analyze the defects of our leaders,
I feel better as a person, although yesterday
corrupted a traffic cop to avoid being fined.
The more I say how much the politicians are guilty, the better I am as citizen of the world,
although even this morning explored a client who trusted me,
which helped me to pay some debts.
No. No. No. That's enough.
As 'raw material' of a world, we have many good things,
but lacks much to be men and women that our world needs.
These defects, this cunny congenital
that dishonesty on a small scale, which then grows and evolves
to become scandals in politics, this lack of human quality
more than the leaders we talk so badly,
is it real bad and honestly, because they all are from each country we are in, like us,
ELECTED BY US.. Born in our country, not elsewhere ...
I am sad.
Because, even though today if it were any of them,
the next to succeed him will have to continue working with the same raw material
defective, as people, ourselves.
And we can not do anything ...
I have no guarantee that someone can do better,
but as someone does not signal a path for the
first eradicate the vices that we as a people, nobody will.
What is the alternative?
We need more a bunch of dictators, that enforce the law
with the force and by terror?
Here is something else missing. And while this 'other thing' does not begin
emerging from bottom to top or top to bottom, or center to the sides,
or whatever you want, we will also condemned
also stagnated ... also abused!
It's great to be here. But when that starts Homo Smart and Fast
to be a hindrance to our development possibilities
as a world, then everything changes ...
Do not wait to light a candle to your GOD,
for HIM to send us a messiah.
We have to change. A new ruler with the same people
nothing can do.
It is very clear ... It is we who have to change.
Yes, I think this fits very well in everything that walks happening to us:
Excuse the mediocrity of TV programs and harmful,
frankly, we are tolerant of failure.
It is the industry's excuse and stupidity.
Now, after this message, frankly, I decided to look for responsible,
not to punish, but to ask you (yes, require)
to improve its behavior and that do not play def or dumb.
Yes, I decided to look responsible and I'm sure I'll find
WHEN I LOOK IN THE MIRROR.
THERE IS. LOOKING FOR YOU DO NOT NEED TO LOOK IN ANOTHER SIDE.
And you, what do you think? ... Meditate!
Friends are like diamonds and diamonds are forever
Jul 18, 1940:
FDR nominated for unprecedented third term
On this day in 1940, Franklin Delano Roosevelt, who first took office in 1933 as America's 32nd president, is nominated for an unprecedented third term. Roosevelt, a Democrat, would eventually be elected to a record four terms in office, the only U.S. president to serve more than two terms.
Roosevelt was born January 30, 1882, in Hyde Park, New York, and went on to serve as a New York state senator from 1911 to 1913, assistant secretary of the Navy from 1913 to 1920 and governor of New York from 1929 to 1932. In 1932, he defeated incumbent Herbert Hoover to be elected president for the first time. During his first term, Roosevelt enacted his New Deal social programs, which were aimed at lifting America out of the Great Depression. In 1936, he won his second term in office by defeating Kansas governor Alf Landon in a landslide.
On July 18, 1940, Roosevelt was nominated for a third presidential term at the Democratic Party convention in Chicago. The president received some criticism for running again because there was an unwritten rule in American politics that no U.S. president should serve more than two terms. The custom dated back to the country's first president, George Washington, who in 1796 declined to run for a third term in office. Nevertheless, Roosevelt believed it was his duty to continue serving and lead his country through the mounting crisis in Europe, where Hitler's Nazi Germany was on the rise. The president went on to defeat Republican Wendell Wilkie in the general election, and his third term in office was dominated by America's involvement in World War II.
In 1944, with the war still in progress, Roosevelt defeated New York governor Thomas Dewey for a fourth term in office. However, the president was unable to complete the full term. On April 12, 1945, Roosevelt, who had suffered from various health problems for years, died at age 63 in Warm Springs, Georgia. He was succeeded by Vice President Harry S. Truman. On March 21, 1947, Congress passed the 22nd Amendment to the U.S. Constitution, which stated that no person could be elected to the office of president more than twice. The amendment was ratified by the required number of states in 1951.
Jul 18, 1792:
Naval hero John Paul Jones dies in Paris
On this day in 1792, the Revolutionary War naval hero John Paul Jones dies in his Paris apartment, where he was still awaiting a commission as the United States consul to Algiers. Commander Jones, remembered as one of the most daring and successful naval commanders of the American Revolution, was born in Scotland, on July 6, 1747. He became an apprentice to a merchant at 13 and soon went to sea, traveling first to the West Indies and then to North America as a young man.
In Virginia at the onset of the American Revolution, Jones sided with the Patriots and received a commission as a first lieutenant in the Continental Navy on December 7, 1775. After departing from Brest, Jones successfully executed raids on two forts in England's Whitehaven Harbor, despite a disgruntled crew more interested in gain than honor. Jones then continued to his home territory of Kirkcudbright Bay, Scotland, where he intended to abduct the earl of Selkirk and then exchange him for American sailors held captive by Britain. Although he did not find the earl at home, Jones' crew was able to steal all his silver, including his wife's teapot, still containing her breakfast tea. From Scotland, Jones sailed across the Irish Sea to Carrickfergus, where his Ranger captured the HMS Drake after delivering fatal wounds to the British ship`s captain and lieutenant.
In September 1779, Jones fought one of the fiercest battles in naval history when he led the USS Bonhomme Richard frigate, named for Benjamin Franklin, in an engagement with the 50-gun British warship HMS Serapis. After the Bonhomme Richard was struck, it began taking on water and caught fire. When the British captain of the Serapis ordered Jones to surrender, he famously replied, "I have not yet begun to fight!" A few hours later, the captain and crew of the Serapis admitted defeat and Jones took command of the British ship.
One of the greatest naval commanders in history, Jones is remembered as a Father of the American Navy, along with fellow Revolutionary War hero Commodore John Barry. At the conclusion of the American War for Independence, Jones briefly served Empress Catherine II of Russia, before retiring to Paris. John Paul Jones is buried in a crypt at the U.S. Naval Academy Chapel in Annapolis, Maryland, where a Marine honor guard stands at attention in his honor whenever the crypt is open to the public.
Jul 18, 1945:
Charges of communists in the U.S. Army raised
In testimony before the House Military Affairs subcommittee, the subcommittee's chief counsel, H. Ralph Burton, charges that 16 officers and non-commissioned officers in the U.S. Army have pasts that "reflect communism." The charges, issued nearly 10 years before Senator Joseph McCarthy would make similar accusations, were hotly denied by the U.S. Army and government.
By July 1945, with the war in Europe having ended just two months before, Cold War animosities between the United States and the Soviet Union were already beginning to arise. The two nations, allies against Hitler during World War II, were dividing over issues such as the postwar fate of Germany and the Soviet occupation of Eastern Europe. One aspect of the growing tensions between the Soviet Union and the United States involved charges that communist agents were at work in various sectors of American society, such as Hollywood and the federal government. In July 1945, House Military Affairs subcommittee chief counsel H. Ralph Burton testified that his investigations revealed at least 16 officers and non-commissioned officers in the U.S. Army had communist backgrounds. As evidence, Burton cited the fact that some of the men had contributed writings to radical journals such as New Masses. In addition, some of the men had served in the Abraham Lincoln Brigade, a volunteer fighting force that battled against the fascist forces of Franco in Spain during that nation's civil war in the 1930s. The U.S. Army quickly fired back, declaring that its own investigation revealed that none of the men named by Burton "was disaffected or disloyal." Whatever activities prior to their military service the men might have engaged in, "the real criterion always remains: Is the individual at the present time whole-heartedly loyal to the United States?" In the celebration that accompanied the U.S. victory over Japan less than three weeks after Burton's testimony, the charges against the U.S. Army were forgotten.
Burton's charges are of interest, however, coming nearly 10 years prior to Senator Joseph McCarthy's similar accusations against the U.S. Army in 1954. In the latter case, McCarthy was completely disgraced during his hearings into communism in the Army. The 1945 accusations indicate that McCarthy was not the creator of the so-called Red Scare that swept the nation after World War II. Indeed, even before World War II came to an end, charges of communist infiltration of the U.S. government and military were being issued.
Jul 18, 1984:
Twenty-one people are shot to death at McDonald's
James Oliver Huberty opens fire in a crowded McDonald's restaurant in San Ysidro, California, killing 21 people and wounding 19 others with several automatic weapons. Minutes earlier, Huberty had left home, telling his wife, "I'm going hunting... hunting for humans."
Huberty, who had a history of mental problems, lost his job in Ohio the previous year. He brought his family to San Diego and worked as a security guard until he was fired again, a month before the shootings. His wife claimed that Huberty called a mental health clinic to make an appointment for counseling but was never called back. Huberty had a love affair with guns, keeping a small arsenal in his bedroom. Neighbors described him as very angry.
Bringing several of these guns, including a 9mm automatic pistol and semiautomatic rifle, into the McDonald's two miles from the Mexican border, Huberty demanded that the 45 patrons get on the floor. He then walked around the restaurant, calmly shooting people. He killed 20 in the first ten minutes, including four who tried to escape. There were so many shots fired that the police first assumed that there was more than one gunman inside. Firing at a fire truck that responded to the scene, Huberty also grazed one firefighter with a bullet.
An hour after the shooting began, an employee managed to escape through the basement and inform the SWAT team that Huberty was alone and without hostages. With this information, sharpshooters were told to "take him out." A marksman sent a shot through Huberty's chest and killed him. After making sure that he was dead, police finally entered the restaurant. San Diego Police Chief William Kolender said, "I hope to God I never see such a thing again."
Jul 18, 64:
Nero's Rome burns
The great fire of Rome breaks out and destroys much of the city on this day in the year 64. Despite the well-known stories, there is no evidence that the Roman emperor, Nero, either started the fire or played the fiddle while it burned. Still, he did use the disaster to further his political agenda.
The fire began in the slums of a district south of the legendary Palatine Hill. The area's homes burned very quickly and the fire spread north, fueled by high winds. During the chaos of the fire, there were reports of heavy looting. The fire ended up raging out of control for nearly three days. Three of Rome's 14 districts were completely wiped out; only four were untouched by the tremendous conflagration. Hundreds of people died in the fire and many thousands were left homeless.
Although popular legend holds that Emperor Nero fiddled while the city burned, this account is wrong on several accounts. First, the fiddle did not even exist at the time. Instead, Nero was well known for his talent on the lyre; he often composed his own music. More importantly, Nero was actually 35 miles away in Antium when the fire broke out. In fact, he let his palace be used as a shelter.
Legend has long blamed Nero for a couple of reasons. Nero did not like the aesthetics of the city and used the devastation of the fire in order to change much of it and institute new building codes throughout the city. Nero also used the fire to clamp down on the growing influence of Christians in Rome. He arrested, tortured and executed hundreds of Christians on the pretext that they had something to do with the fire.
Friends are like diamonds and diamonds are forever
Jul 19, 1799:
Rosetta Stone found
On this day in 1799, during Napoleon Bonaparte's Egyptian campaign, a French soldier discovers a black basalt slab inscribed with ancient writing near the town of Rosetta, about 35 miles north of Alexandria. The irregularly shaped stone contained fragments of passages written in three different scripts: Greek, Egyptian hieroglyphics and Egyptian demotic. The ancient Greek on the Rosetta Stone told archaeologists that it was inscribed by priests honoring the king of Egypt, Ptolemy V, in the second century B.C. More startlingly, the Greek passage announced that the three scripts were all of identical meaning. The artifact thus held the key to solving the riddle of hieroglyphics, a written language that had been "dead" for nearly 2,000 years.
When Napoleon, an emperor known for his enlightened view of education, art and culture, invaded Egypt in 1798, he took along a group of scholars and told them to seize all important cultural artifacts for France. Pierre Bouchard, one of Napoleon's soldiers, was aware of this order when he found the basalt stone, which was almost four feet long and two-and-a-half feet wide, at a fort near Rosetta. When the British defeated Napoleon in 1801, they took possession of the Rosetta Stone.
Several scholars, including Englishman Thomas Young made progress with the initial hieroglyphics analysis of the Rosetta Stone. French Egyptologist Jean-Francois Champollion (1790-1832), who had taught himself ancient languages, ultimately cracked the code and deciphered the hieroglyphics using his knowledge of Greek as a guide. Hieroglyphics used pictures to represent objects, sounds and groups of sounds. Once the Rosetta Stone inscriptions were translated, the language and culture of ancient Egypt was suddenly open to scientists as never before.
The Rosetta Stone has been housed at the British Museum in London since 1802, except for a brief period during World War I. At that time, museum officials moved it to a separate underground location, along with other irreplaceable items from the museum's collection, to protect it from the threat of bombs.
Jul 19, 1942:
George Washington Carver begins experimental project with Henry Ford
On this day in 1942, the agricultural chemist George Washington Carver, head of Alabama's famed Tuskegee Institute, arrives in Dearborn, Michigan at the invitation of Henry Ford, founder of Ford Motor Company.
Born to slave parents in Missouri during the Civil War, Carver managed to get a high school education while working as a farmhand in Kansas in his late 20s. Turned away by a Kansas university because he was an African American, Carver later became the first black student at Iowa State Agricultural College in Ames, where he obtained his bachelor's and master's degrees. In 1896, Carver left Iowa to head the department of agriculture at the Tuskegee Normal and Industrial Institute, a school founded by the leading black educator Booker T. Washington. By convincing farmers in the South to plant peanuts as an alternative to cotton, Carver helped resuscitate the region's agriculture; in the process, he became one of the most respected and influential scientists in the country.
Like Carver, Ford was deeply interested in the regenerative properties of soil and the potential of alternative crops such as peanuts and soybeans to produce plastics, paint, fuel and other products. Ford had long believed that the world would eventually need a substitute for gasoline, and supported the production of ethanol (or grain alcohol) as an alternative fuel. In 1942, he would showcase a car with a lightweight plastic body made from soybeans. Ford and Carver began corresponding via letter in 1934, and their mutual admiration deepened after Carver made a visit to Michigan in 1937. As Douglas Brinkley writes in "Wheels for the World," his history of Ford, the automaker donated generously to the Tuskegee Institute, helping finance Carver's experiments, and Carver in turn spent a period of time helping to oversee crops at the Ford plantation in Ways, Georgia.
By the time World War II began, Ford had made repeated journeys to Tuskegee to convince Carver to come to Dearborn and help him develop a synthetic rubber to help compensate for wartime rubber shortages. Carver arrived on July 19, 1942, and set up a laboratory in an old water works building in Dearborn. He and Ford experimented with different crops, including sweet potatoes and dandelions, eventually devising a way to make the rubber substitute from goldenrod, a plant weed. Carver died in January 1943, Ford in April 1947, but the relationship between their two institutions continued to flourish: As recently as the late 1990s, Ford awarded grants of $4 million over two years to the George Washington Carver School at Tuskegee.
Jul 19, 1956:
United States withdraws offer of aid for Aswan Dam
Secretary of State John Foster Dulles announces that the United States is withdrawing its offer of financial aid to Egypt to help with the construction of the Aswan Dam on the Nile River. The action drove Egypt further toward an alliance with the Soviet Union and was a contributing factor to the Suez Crisis later in 1956.
In December 1955, Secretary Dulles announced that the United States, together with Great Britain, was providing nearly $70 million in aid to Egypt to help in the construction of the Aswan Dam on the Nile River. Dulles had agreed to this assistance only reluctantly. He was deeply suspicious of Egyptian leader Gamal Abdel Nasser, who he believed to be a reckless and dangerous nationalist. However, others in the Eisenhower administration convinced Dulles that the American aid might pull Nasser back from his relationship with the Soviet Union and prevent the growth of Soviet power in the Middle East. Just seven months after the announcement, however, Dulles declared that the American offer was being revoked. He cited difficulties in arranging the financial details of the U.S. grant with the Egyptian government, but his real motivation was Nasser's unceasing attacks on Western colonialism and imperialism and Egypt's continued dalliance with the Soviet Union.
Dulles might have believed that without the American aid, the dam project would fold. On this point, he was wrong. The Soviets rushed to Egypt's aid, and the Aswan Dam was officially opened in 1964. Nasser, of course, was furious with the U.S. action. So, too, were the British, who believed that America's withdrawal of aid had provided the opening for Soviet penetration of Egypt. In October 1956, British, French, and Israeli forces attacked Egypt, claiming that they were protecting the Suez Canal. The incident nearly provoked a U.S.-Soviet confrontation, but President Dwight D. Eisenhower coupled stern warnings against any Soviet military action with a refusal to support the British, French, and Israeli invasion. The invading forces withdrew from Egypt in early 1957. Nevertheless, the damage to U.S. relations with the Middle East was done and the area would remain a Cold War hotspot throughout the next 35 years.
Jul 19, 1991:
Mike Tyson rapes a Miss Black America contestant
Notorious boxer Mike Tyson rapes Desiree Washington, a contestant in the Miss Black America pageant, in an Indianapolis, Indiana, hotel room. At a time when the issue of date rape was entering the country's consciousness, Tyson's attack became a national sensation.
Tyson, who had lost his heavyweight title in February 1990 to James "Buster" Douglas, was preparing for a chance to win it back later in the year. However, Tyson's behavior had become increasingly erratic. His marriage to Robin Givens had fallen apart amid accusations of domestic violence. Furthermore, there were multiple reports that Tyson was known for unwanted, crude, and sometimes violent advances toward women wherever he went.
Tyson attended the Miss Black America pageant in Indianapolis to lend his celebrity to the event. At a photo opportunity with the contestants, Tyson flirted with the women by grabbing and hugging them. Later, several women would testify that Tyson had made disgusting propositions to them. Still, the boxer impressed Desiree Washington, a college student from Rhode Island.
After attending a Johnny Gill concert that night, Tyson found himself without a date. He called Washington and convinced her to join him so that they could talk and get to know one another. At his hotel, Washington agreed to accompany Tyson to his room so that he could pick up something he claimed to have left in his room. Surprising her as she came out of the bathroom, Tyson pinned Washington to the bed, telling her to relax as he forced himself upon her. Washington left the room alone about 30 minutes after arriving. A hospital medical examination was conducted and found to be consistent with Washington's account. Tyson claimed that the sexual encounter was purely consensual and that Washington had made the story up for money and because she was angry that Tyson had not walked her down to his limousine.
On February 10, 1992, Tyson was convicted of rape. At his sentencing hearing, the remorseless Tyson railed about his own social "humiliation" and received a six-year sentence. Even an appeal by the famous attorney Alan Dershowitz could not get Tyson a new trial.
After his release in 1995, Tyson became even more paranoid and out of control. In June 1997, Tyson bit off a chunk of Evander Holyfield's ear during a boxing match, for which his boxing license was revoked. In a 1999 interview, Tyson maintained that he would bite off his opponent's ear if the situation arose again. Despite these comments, Tyson was granted a reinstatement of his boxing license. Although Tyson continued to fight, he never regained his previous dominance. He declared bankruptcy in 2003 and retired two years later, in June 2005, after losing three of his last four fights.
Jul 19, 1898:
Emile Zola flees France
Novelist Emile Zola flees France on this day in 1898 to escape imprisonment after being convicted of libel against the French army in the notorious Dreyfus affair.
Zola was a well-known writer who had published his first book, a collection of stories, more than three decades earlier. After failing his baccalaureate, he worked in the sales department of a major French publisher, who encouraged his writing and published his first book. He became one of the most famous writers in France with the publication of his 1877 hit, The Drunkard, part of his 20-novel cycle exploring the lives of two families.
In 1898, Zola wrote an inflammatory newspaper letter, entitled "J'Accuse," exposing a military cover-up regarding Captain Alfred Dreyfus. Dreyfus, a French army captain, had been accused of espionage in 1894 and sentenced in a secret military court-martial to imprisonment in a South American penal colony. Two years later, evidence of Dreyfus' innocence surfaced, but the army suppressed the information. Zola's letter blamed the military for concealing its mistaken conviction.
Zola's letter provoked national outrage on both sides of the issue, among political parties, religious organizations, and others. He was brought to trial for libel, convicted, and sentenced to one year's imprisonment. He fled France but returned in 1899, after Dreyfus was pardoned. Zola died in 1902, four years before Dreyfus was finally exonerated.
Friends are like diamonds and diamonds are forever
Jul 20, 1969:
Armstrong walks on moon
At 10:56 p.m. EDT, American astronaut Neil Armstrong, 240,000 miles from Earth, speaks these words to more than a billion people listening at home: "That's one small step for man, one giant leap for mankind." Stepping off the lunar landing module Eagle, Armstrong became the first human to walk on the surface of the moon.
The American effort to send astronauts to the moon has its origins in a famous appeal President John F. Kennedy made to a special joint session of Congress on May 25, 1961: "I believe this nation should commit itself to achieving the goal, before this decade is out, of landing a man on the moon and returning him safely to Earth." At the time, the United States was still trailing the Soviet Union in space developments, and Cold War-era America welcomed Kennedy's bold proposal.
In 1966, after five years of work by an international team of scientists and engineers, the National Aeronautics and Space Administration (NASA) conducted the first unmanned Apollo mission, testing the structural integrity of the proposed launch vehicle and spacecraft combination. Then, on January 27, 1967, tragedy struck at Kennedy Space Center in Cape Canaveral, Florida, when a fire broke out during a manned launch-pad test of the Apollo spacecraft and Saturn rocket. Three astronauts were killed in the fire.
Despite the setback, NASA and its thousands of employees forged ahead, and in October 1968, Apollo 7, the first manned Apollo mission, orbited Earth and successfully tested many of the sophisticated systems needed to conduct a moon journey and landing. In December of the same year, Apollo 8 took three astronauts to the dark side of the moon and back, and in March 1969 Apollo 9 tested the lunar module for the first time while in Earth orbit. Then in May, the three astronauts of Apollo 10 took the first complete Apollo spacecraft around the moon in a dry run for the scheduled July landing mission.
At 9:32 a.m. on July 16, with the world watching, Apollo 11 took off from Kennedy Space Center with astronauts Neil Armstrong, Edwin Aldrin Jr., and Michael Collins aboard. Armstrong, a 38-year-old civilian research pilot, was the commander of the mission. After traveling 240,000 miles in 76 hours, Apollo 11 entered into a lunar orbit on July 19. The next day, at 1:46 p.m., the lunar module Eagle, manned by Armstrong and Aldrin, separated from the command module, where Collins remained. Two hours later, the Eagle began its descent to the lunar surface, and at 4:18 p.m. the craft touched down on the southwestern edge of the Sea of Tranquility. Armstrong immediately radioed to Mission Control in Houston, Texas, a famous message: "The Eagle has landed."
At 10:39 p.m., five hours ahead of the original schedule, Armstrong opened the hatch of the lunar module. As he made his way down the lunar module's ladder, a television camera attached to the craft recorded his progress and beamed the signal back to Earth, where hundreds of millions watched in great anticipation. At 10:56 p.m., Armstrong spoke his famous quote, which he later contended was slightly garbled by his microphone and meant to be "that's one small step for a man, one giant leap for mankind." He then planted his left foot on the gray, powdery surface, took a cautious step forward, and humanity had walked on the moon.
"Buzz" Aldrin joined him on the moon's surface at 11:11 p.m., and together they took photographs of the terrain, planted a U.S. flag, ran a few simple scientific tests, and spoke with President Richard M. Nixon via Houston. By 1:11 a.m. on July 21, both astronauts were back in the lunar module and the hatch was closed. The two men slept that night on the surface of the moon, and at 1:54 p.m. the Eagle began its ascent back to the command module. Among the items left on the surface of the moon was a plaque that read: "Here men from the planet Earth first set foot on the moon--July 1969 A.D--We came in peace for all mankind."
At 5:35 p.m., Armstrong and Aldrin successfully docked and rejoined Collins, and at 12:56 a.m. on July 22 Apollo 11 began its journey home, safely splashing down in the Pacific Ocean at 12:51 p.m. on July 24.
There would be five more successful lunar landing missions, and one unplanned lunar swing-by, Apollo 13. The last men to walk on the moon, astronauts Eugene Cernan and Harrison Schmitt of the Apollo 17 mission, left the lunar surface on December 14, 1972. The Apollo program was a costly and labor intensive endeavor, involving an estimated 400,000 engineers, technicians, and scientists, and costing $24 billion (close to $100 billion in today's dollars). The expense was justified by Kennedy's 1961 mandate to beat the Soviets to the moon, and after the feat was accomplished ongoing missions lost their viability.
Jul 20, 1972:
U.S. government study disputes Nader's charges against Corvair
On this day in 1972, the results of a two-year study conducted by the National Highway Traffic Administration of the U.S. Department of Transportation are released; the study concludes that 1960-63 Chevrolet Corvair models are at least as safe as comparable models of other cars sold in the same period, directly contradicting charges made by the leading consumer advocate Ralph Nader.
In his bestselling 1965 book "Unsafe at Any Speed: The Designed-In Dangers of the American Automobile," Nader had dedicated an entire chapter, titled "The One-Car Accident," to the Corvair. Upon its debut in 1960, the Corvair won Motor Trend's "Car of the Year" honors and became an immediate sensation thanks to its innovative design and its lightweight, air-cooled, rear-mounted aluminum engine. However, its deficiencies�including its tendency to oversteer and spin out of control in the hands of the average driver�earned almost as much attention. After his niece was seriously injured in a Corvair, the general manager of General Motors himself threatened to resign if the car's suspension was not redesigned (it was, in 1964). By the time the revamped Corvair was released in 1965, Nader had already published "Unsafe at Any Speed," making 1960-63 Corvair models the target of his most outraged criticism. Sales of the Corvair swiftly dwindled, and GM withdrew the car from production in 1969.
At Nader's own urging, the U.S. government began a comparative study of the 1963 Corvair with other comparable vehicles in September 1970. The other cars used were a 1967 Corvair (featuring the newly redesigned suspension), a 1962 Ford Falcon, a 1960 Plymouth Valiant, a 1962 Volkswagen and a 1963 Renault. Nader had specifically criticized the Corvair's handling and stability, as well as its tendency to roll over during sharp turns. In the study's results, released on July 20, 1972, the government stated, among other conclusions, that the Corvair's handling in a sharp turn did not "result in abnormal potential for loss of control" and that the rollover rate for the Corvair was comparable to that of "other light domestic cars."
According to The New York Times, Nader spoke out against the study, calling it "a shoddy, internally contradictory whitewash" and accusing the Highway Traffic Administration of using "biased testing procedures and model selection." He argued against the use of only the 1963 Corvair in the tests, which he said was significantly different from the 1960-62 models�a charge that the government disputed, saying that the first significant changes to the Corvair were made in 1964. Three independent engineers certified the government's findings, calling them "reasonable, appropriate and sound," and General Motors issued a statement stating that the study "confirms our position on the handling and stability characteristics of these cars."
Jul 20, 1948:
Truman issues peacetime draft
President Harry S. Truman institutes a military draft with a proclamation calling for nearly 10 million men to register for military service within the next two months. Truman's action came during increasing Cold War tensions with the Soviet Union.
Following World War II, the United States moved quickly to demobilize the vast military it had constructed during the conflict. During the war, more than 16 million men and women served in the U.S. military; when the war ended in August 1945, the American people demanded rapid demobilization. By 1948, less than 550,000 men remained in the U.S. Army. This rapid decline in the size of America's military concerned U.S. government officials, who believed that a confrontation with the Soviet Union was imminent. During the years following World War II, relations between the Russians and Americans deteriorated rapidly. In 1947, the president issued the Truman Doctrine, which provided aid to Greece and Turkey to oppose communist subversion. In that same year, Secretary of State George C. Marshall warned that Western Europe was on the brink of political and economic chaos that would leave it defenseless against communist aggression; the following year, Congress approved billions of dollars in financial assistance to the beleaguered nations. In June 1948, the Soviets cut all land traffic into the U.S.-British-French zones of occupation in West Berlin. The United States responded with the Berlin Airlift, in which tons of food and supplies were flown in to sustain the population of the besieged city. In light of these events, many Americans believed that actual combat with the Soviet Union was not far away. In response to this threat, President Truman announced on July 20, 1948, that the United States was re-instituting the draft and issued a proclamation requiring nearly 10 million men to register for military service in the next two months.
Truman's decision underlined the urgency of his administration's concern about a possible military confrontation with the Soviet Union. It also brought home to the American people in concrete terms the possibility that the Cold War could, at any moment, become an actual war. In 1950, possibility turned to reality when the United States entered the Korean War, and the size of America's armed forces once again increased dramatically.
Jul 20, 1977:
Second great flood hits Johnstown
A flash flood hits Johnstown, Pennsylvania, on this day in 1977, killing 84 people and causing millions of dollars in damages. This flood came 88 years after the infamous Great Flood of 1889 that killed more than 2,000 people in Johnstown. As they had in the first flood, the dams in the Conemaugh Valley failed, bringing disaster to the town.
The flood occurred when an extraordinary amount of rain came down in the Conemaugh Valley in a short period of time. Nearly 12 inches were measured in 10 hours. The National Weather Service later estimated that this amount of rain in that location should happen less than once every 1,000 years.
The largest dam that burst was at Laurel Run. This 10-year-old earthen dam held back 100 million gallons of water. Despite having a 42-foot-high spillway, the dam failed and the resulting flood devastated the town of Tanneryville. Five other dams in the area also burst, releasing another 30 million gallons of water over the landscape.
The failure of the dams came as a big surprise. Johnstown had constructed an entire system designed to completely eliminate the flood risk. In addition, regular inspections had turned up no defects. Still, the dams were no match for the thunderstorm that stalled over the area on July 20.
In addition to the 84 people who lost their lives to the flood, $300 million in damages were suffered and hundreds of people lost their homes. President Carter declared the region a federal disaster area and the National Guard was sent to assist in the relief efforts. Despite millions spent to rehabilitate the Johnstown area, the economy never recovered. The city's population decreased nearly 15 percent in the aftermath of the flood, as people moved away to rebuild their lives elsewhere.
Jul 20, 1881:
Sitting Bull surrenders
Five years after General George A. Custer's infamous defeat at the Battle of Little Bighorn, Hunkpapa Teton Sioux leader Sitting Bull surrenders to the U.S. Army, which promises amnesty for him and his followers. Sitting Bull had been a major leader in the 1876 Sioux uprising that resulted in the death of Custer and 264 of his men at Little Bighorn. Pursued by the U.S. Army after the Indian victory, he escaped to Canada with his followers.
Born in the Grand River Valley in what is now South Dakota, Sitting Bull gained early recognition in his Sioux tribe as a capable warrior and a man of vision. In 1864, he fought against the U.S. Army under General Alfred Sully at Killdeer Mountain and thereafter dedicated himself to leading Sioux resistance against white encroachment. He soon gained a following in not only his own tribe but in the Cheyenne and Arapaho Native American groups as well. In 1867, he was made principal chief of the entire Sioux nation.
In 1873, in what would serve as a preview of the Battle of Little Bighorn three years later, an Indian military coalition featuring the leadership of Sitting Bull skirmished briefly with Lieutenant Colonel George Armstrong Custer. In 1876, Sitting Bull was not a strategic leader in the U.S. defeat at Little Bighorn, but his spiritual influence inspired Crazy Horse and the other victorious Indian military leaders. He subsequently fled to Canada, but in 1881, with his people starving, he returned to the United States and surrendered.
He was held as a prisoner of war at Fort Randall in South Dakota territory for two years and then was permitted to live on Standing Rock Reservation straddling North and South Dakota territory. In 1885, he traveled for a season with Buffalo Bill Cody's Wild West show and then returned to Standing Rock. In 1889, the spiritual proclamations of Sitting Bull influenced the rise of the "Ghost Dance," an Indian religious movement that proclaimed that the whites would disappear and the dead Indians and buffalo would return.
His support of the Ghost Dance movement had brought him into disfavor with government officials, and on December 15, 1890, Indian police burst into Sitting Bull's house in the Grand River area of South Dakota and attempted to arrest him. There is confusion as to what happened next. By some accounts, Sitting Bull's warriors shot the leader of the police, who immediately turned and gunned down Sitting Bull. In another account, the police were instructed by Major James McLaughlin, director of the Standing Rock Sioux Agency, to kill the chief at any sign of resistance. Whatever the case, Sitting Bull was fatally shot and died within hours. The Indian police hastily buried his body at Fort Yates within the Standing Rock Reservation. In 1953, his remains were moved into Mobridge, South Dakota, where a granite shaft marks his resting place.
Jul 20, 1976:
Viking 1 lands on Mars
On the seventh anniversary of the Apollo 11 lunar landing, the Viking 1 lander, an unmanned U.S. planetary probe, becomes the first spacecraft to successfully land on the surface of Mars.
Viking 1 was launched on August 20, 1975, and arrived at Mars on June 19, 1976. The first month of its orbit was devoted to imaging the surface to find appropriate landing sites. On July 20, 1976, the Viking 1 lander separated from the orbiter, touched down on the Chryse Planitia region of Mars, and sent back the first close-up photographs of the rust-colored Martian surface.
In September 1976, Viking 2--launched only three weeks after Viking 1--entered into orbit around Mars, where it assisted Viking 1 in imaging the surface and also sent down a lander. During the dual Viking missions, the two orbiters imaged the entire surface of Mars at a resolution of 150 to 300 meters, and the two landers sent back more than 1,400 images of the planet's surface.
Friends are like diamonds and diamonds are forever
Jul 22, 2003:
Jessica Lynch gets hero's welcome
On this day in 2003, U.S. Army Private Jessica Lynch, a prisoner-of-war who was rescued from an Iraqi hospital, receives a hero's welcome when she returns to her hometown of Palestine, West Virginia. The story of the 19-year-old supply clerk, who was captured by Iraqi forces in March 2003, gripped America; however, it was later revealed that some details of Lynch's dramatic capture and rescue might have been exaggerated.
Lynch, who was born April 26, 1983, was part of the 507th Ordnance Maintenance Company from Fort Bliss, Texas. On March 23, 2003, just days after the U.S. invaded Iraq, Lynch was riding in a supply convoy when her unit took a wrong turn and was ambushed by Iraqi forces near Nasiriya. Eleven American soldiers died and four others besides Lynch were captured.
Lynch, who sustained multiple broken bones and other injuries when her vehicle crashed during the ambush, was taken to an Iraqi hospital. On April 1, she was rescued by U.S. Special Forces who raided the hospital where she was being held. They also recovered the bodies of eight of Lynch's fellow soldiers. Lynch was taken to a military hospital in Germany for treatment and then returned to the United States.
Lynch's story garnered massive media attention and she became an overnight celebrity. Various reports emerged about Lynch's experience, with some news accounts indicating that even after Lynch was wounded during the ambush she fought back against her captors. However, Lynch later stated that she had been knocked unconscious after her vehicle crashed and couldn't remember the details of what had happened to her. She also said she had not been mistreated by the staff at the Iraqi hospital and they put up no resistance to her rescue. Critics�and Lynch herself�charged the U.S. government with embellishing her story to boost patriotism and help promote the Iraq war.
In August 2003, Lynch received a medical honorable discharge. She collaborated on a book about her experience, I Am a Soldier, Too: The Jessica Lynch Story, which was released later that year. In April 2007, Lynch testified before Congress that she had falsely been portrayed as a "little girl Rambo" and the U.S. military had hyped her story for propaganda reasons. According to Lynch: "I am still confused as to why they chose to lie and tried to make me a legend when the real heroics of my fellow soldiers that day were, in fact, legendary." She added: "The truth of war is not always easy to hear but is always more heroic than the hype."
Jul 22, 2002:
California governor signs new auto emissions legislation
On July 22, 2002, over the strenuous opposition of the United Auto Workers (UAW) and the auto industry, Governor Gray Davis of California signs a stringent law regulating emissions from automobiles.
The U.S. Congress passed the first national fuel economy standards, known as Corporate Average Fuel Economy (CAFE) standards, in 1975, in the wake of the 1973 oil embargo.
The standards sought to control emissions of so-called "greenhouse gases" (such as carbon dioxide) from cars and light trucks that contribute to global warming, or the gradual increase in the temperature of the earth's atmosphere. Automakers have historically resisted increases in these standards, as stricter standards usually require an overhaul of their production methods to make cleaner and more fuel-efficient vehicles.
California--which represents 10 percent of the nation's automobile market and is known for its struggles with air pollution--took the lead early in setting stricter fuel emissions standards than the federal government's. Assembly Bill (AB) 1493, which Davis signed into law in July 2002, was the first law in the nation to address the greenhouse gases emitted in automobile exhaust. The law required the California Air Resources Board (CARB) to regulate greenhouse gases under the state's motor vehicle program and gave automakers until the 2009 model year to produce cars and light trucks that would collectively emit 22 percent fewer greenhouse gases by 2012 and 30 percent fewer by 2016.
Despite his well-documented enthusiasm for the Hummer, a sport-utility-vehicle (SUV) known for its prodigious size (and prodigious emission of greenhouse gases), Davis' Republican successor, Governor Arnold Schwarzenegger, sought to uphold AB 1493 against continuous challenges from the auto industry and the presidential administration of George W. Bush. Democrat Barack Obama's election as president in 2008 turned the tide in California's favor: In January 2009, Obama directed the Environmental Protection Agency (EPA) to reverse an earlier decision and give California (by then joined by 13 other states) the right to adopt tougher auto emissions standards. That May, Obama announced plans to bring the entire nation up to California's proposed standard, which would make cars nationwide roughly 30 percent cleaner and more fuel-efficient by 2016.
Jul 22, 1987:
Gorbachev accepts ban on intermediate-range nuclear missiles
In a dramatic turnaround, Soviet leader Mikhail Gorbachev indicates that he is willing to negotiate a ban on intermediate-range nuclear missiles without conditions. Gorbachev's decision paved the way for the groundbreaking Intermediate-Range Nuclear Forces (INF) Treaty with the United States.
Since coming to power in 1985, Gorbachev had made it clear that he sought a less contentious relationship with the United States. His American counterpart, President Ronald Reagan, was a staunch anticommunist and initially harbored deep suspicions about Gorbachev's sincerity. After meeting with Gorbachev in November 1985, however, Reagan came to believe that progress might be made on a number of issues, including arms control. In subsequent summit meetings, the two leaders focused on the so-called intermediate-range nuclear missiles that both nations had massed in Europe and around the world. In late 1986, it appeared that the two nations were close to an agreement that would eliminate the weapons from Europe. Negotiations stumbled, however, when Gorbachev demanded that the elimination of the missiles be accompanied by U.S. abandonment of its development of the strategic defense initiative (the "Star Wars" plan). The talks broke down while Reagan and Gorbachev traded accusations of bad faith. On July 22, 1987, Gorbachev dramatically announced that he was ready to discuss the elimination of intermediate-range missiles on a worldwide basis, with no conditions. By dropping his objection to the strategic defense initiative (which was one of Reagan's pet projects), Gorbachev cleared the way for negotiations, and he and Reagan agreed to meet again.
Gorbachev's change of mind was the result of a number of factors. His own nation was suffering from serious economic problems and Gorbachev desperately wanted to cut Russia's military spending. In addition, the growing "no-nukes" movement in Europe was interfering with his ability to conduct diplomatic relations with France, Great Britain, and other western European nations. Finally, Gorbachev seemed to have a sincere personal trust in and friendship with Ronald Reagan, and this feeling was apparently reciprocal. In December 1987, during a summit in Washington, the two men signed off on the Intermediate-Range Nuclear Forces Treaty, which eliminated an entire class of nuclear weapons.
Jul 22, 1923:
Dillinger joins the Navy in an attempt to avoid prosecution
John Herbert Dillinger joins the Navy in order to avoid charges of auto theft in Indiana, marking the beginning of America's most notorious criminal's downfall. Years later, Dillinger's reputation was forged in a single 12-month period, during which he robbed more banks than Jesse James did in 15 years and became the most wanted fugitive in the nation.
Dillinger didn't last in the Navy very long. Within months he had gone AWOL several times�the last time in December 1923. Making his way back to Indiana, he was arrested for armed robbery the following summer. Dillinger pled guilty, thinking that he would receive a light sentence, but instead got 10 to 20 years. His first words to the warden at the prison were, "I won't cause you any trouble except to escape." A man of his word, Dillinger had attempted to escape three times by the end of the year.
Between escape attempts, Dillinger became friendly with some of the more professional thieves in the prison. After he was finally paroled in May 1933, Dillinger hooked up with his new friends and began robbing banks throughout the Midwest. He also began planning to break his friends out of prison. In September, he smuggled guns in to Harry Pierpont, who led a 10-man break from the Michigan City prison.
In 1933, Dillinger's assistance turned out to be fortuitous because as his friends were breaking out, Dillinger himself was captured and arrested for bank robbery in Dayton, Ohio, and then imprisoned in Lima, Ohio. Pierpont and the others returned the favor and broke Dillinger out in October, killing a sheriff in the process. The gang was now in full force. A week later, they raided a police arsenal in Peru, Indiana. The arrogant bandits pretended to be tourists who wanted to see what weapons the police were going to use to capture the Dillinger gang.
Given the remarkable string of armed robberies and acts of violence in such a short period of time, police departments throughout the Midwest set up special units to capture Dillinger. Ironically, his eventual arrest was the result of pure luck. While hiding out in Tucson, Arizona, Dillinger was caught in a fire that broke out in his hotel. Firefighters became suspicious when they were offered a large sum of money to save two heavy suitcases. When they found a small arsenal of guns inside, those involved, including Dillinger, were taken into custody.
Dillinger was extradited to Indiana and held in what was believed to be an escape-proof jail, with extra guards posted to protect against outside attacks. But on March 3, 1934, Dillinger used a fake pistol that he had carved out of wood and painted black to escape. For the next several months, Dillinger and his gang went on a bank-robbing spree with the FBI one step behind at all times. J. Edgar Hoover, the director of the FBI, reportedly put out an order that agents should shoot Dillinger on sight. An immigrant named Anna Sage offered to set the outlaw up if deportation proceedings against her for operating a brothel were dropped. On July 22, 1934, detective Martin Zarkovich shot a man identified by the FBI as Dillinger as he was leaving the Biograph Theater in Chicago, Illinois.
Some historians believe that the man killed that day was not Dillinger, and that Dillinger may have engineered the setup to drop out of sight. If so, he was successful�no further record of Dillinger exists.
Jul 22, 1991:
Cannibal and serial killer Jeffrey Dahmer is caught
Milwaukee, Wisconsin, police officers spot Tracy Edwards running down the street in handcuffs, and upon investigation, they find one of the grisliest scenes in modern history-Jeffrey Dahmer's apartment.
Edwards told the police that Dahmer had held him at his apartment and threatened to kill him. Although they initially thought the story was dubious, the officers took Edwards back to Dahmer's apartment. Dahmer calmly explained that the whole matter was simply a misunderstanding and the officers almost believed him. However, they spotted a few Polaroid photos of dismembered bodies, and Dahmer was arrested.
When Dahmer's apartment was fully searched, a house of horrors was revealed. In addition to photo albums full of pictures of body parts, the apartment was littered with human remains: Several heads were in the refrigerator and freezer; two skulls were on top of the computer; and a 57-gallon drum containing several bodies decomposing in chemicals was found in a corner of the bedroom. There was also evidence to suggest that Dahmer had been eating some of his victims.
Neighbors told both detectives and the press that they had noticed an awful smell emanating from the apartment but that Dahmer had explained it away as expired meat. However, the most shocking revelation about how Dahmer had managed to conceal his awful crimes in the middle of a city apartment building would come a few days later.
Apparently, police had been called two months earlier about a naked and bleeding 14-year-old boy being chased down an alley by Dahmer. The responding officers actually returned the boy, who had been drugged, to Dahmer's apartment�where he was promptly killed. The officers, who said that they believed it to be a domestic dispute, were later fired.
A forensic examination of the apartment turned up 11 victims�the first of whom disappeared in March 1989, just two months before Dahmer successfully escaped a prison sentence for child molestation by telling the judge that he was desperately seeking to change his conduct. Dahmer later confessed to 17 murders in all, dating back to his first victim in 1978.
The jury rejected Dahmer's insanity defense, and he was sentenced to 15 life terms. He survived one attempt on his life in July 1994, but was killed by another inmate on November 28, 1994.
Jul 22, 1862:
Lincoln tells his cabinet about Emancipation Proclamation
On this day in 1862, President Abraham Lincoln informs his chief advisors and cabinet that he will issue a proclamation to free slaves, but adds that he will wait until the Union Army has achieved a substantial military victory to make the announcement.
Attempting to stitch together a nation mired in a bloody civil war, Abraham Lincoln made a last-ditch, but carefully calculated, executive decision regarding the institution of slavery in America. At the time of the meeting with his cabinet, things were not looking good for the Union. The Confederate Army had overcome Union troops in significant battles and Britain and France were set to officially recognize the Confederacy as a separate nation.
The issuing of the Emancipation Proclamation had less to do with ending slavery than saving the crumbling union. In an August 1862 letter to New York Tribune editor Horace Greeley, Lincoln confessed "my paramount object in this struggle is to save the Union, and it is not either to save or to destroy slavery." He hoped a strong statement declaring a national policy of emancipation would stimulate a rush of the South's slaves into the ranks of the Union Army, thus depleting the Confederacy's labor force, on which it depended to wage war against the North.
As promised, Lincoln waited to unveil the proclamation until he could do so on the heels of a successful Union military advance. On September 22, 1862, after a victory at Antietam, he publicly announced a preliminary Emancipation Proclamation, declaring all slaves free in the rebellious states as of January 1, 1863. Lincoln and his advisors limited the proclamation's language to slavery in states outside of federal control as of 1862. The proclamation did not, however, address the contentious issue of slavery within the nation's border states. In his attempt to appease all parties, Lincoln left many loopholes open that civil rights advocates would be forced to tackle in the future.
Friends are like diamonds and diamonds are forever
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Cirrus, cumulus, and stratus are all types of what? | Cumulus, Stratus, and Cirrus - Tree House Weather Kids - University of Illinois Extension
University of Illinois Extension
Cumulus, Stratus, and Cirrus
There are three main cloud types.
Cumulus clouds are the puffy clouds that look like puffs of cotton. Cumulus clouds that do not get very tall are indicators of fair weather. If they do grow tall, they can turn into thunderstorms. The bottom of cumulus clouds are fairly close to the ground.
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Stratus clouds look like flat sheets of clouds. These clouds can mean an overcast day or steady rain. They may stay in one place for several days.
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Cirrus clouds are high feathery clouds. They are up so high they are actually made of ice particles. They are indicators of fair weather when they are scattered in a clear blue sky.
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| Cloud |
When baking, by what primary means does the heat reach the food? Convection, conduction, or radiation? | Height of base: 18,000 - 40,000 ft
Latin: cirrus - lock or tuft of hair; stratus - flattened or spread out
Cirrostratus are transparent high clouds covering large areas of the sky. They sometimes produce white or coloured rings, spots or arcs of light around the sun or moon that are known as halo phenomena. Sometimes they are so thin that the halo is the only indication that a cirrostratus cloud is in the sky.
Cirrostratus can span thousands of miles, and may be smooth or fibrous and are often fringed with cirrus clouds.
Shadows will normally still be cast by the sun when shining through cirrostratus clouds, which can help distinguish them from similar nimbostratus clouds.
For more detailed information on cloud spotting and pictures of different types of clouds, view our Cloud types for observers guide.
Last updated: Aug 6, 2014 9:43 AM
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