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Deanna Durbin (born December 4, 1921) is a Canadian-born, Southern California-raised retired singer and actress, who appeared in a number of musical films in the 1930s and 1940s singing standards as well as operatic arias.
Durbin made her first film appearance in 1936 with Judy Garland in Every Sunday, and subsequently signed a contract with Universal Studios. Her success as the ideal teenage daughter in films such as Three Smart Girls (1936) was credited with saving the studio from bankruptcy.[1] In 1938 Durbin was awarded the Academy Juvenile Award.
Later, as she matured, Durbin grew dissatisfied with the girl-next-door roles assigned to her, and attempted to portray a more womanly and sophisticated style. The film noir Christmas Holiday (1944) and the whodunit Lady on a Train (1945) were, however, not as well received as her musical comedies and romances had been.
Durbin withdrew from Hollywood and retired from acting and singing in 1949. She married film producer-director Charles Henri David in 1950, and the couple moved to a farmhouse in the outskirts of Paris. Since then she has withdrawn from public life. Born Edna Mae Durbin at Grace Hospital in Winnipeg, Manitoba, Canada, she was given the professional name Deanna at the beginning of her association with Universal Studios in 1936, when she was still 14 years old. Her parents, James and Ada Durbin, were immigrants from Lancashire, England who would become U.S. citizens after moving their family from Winnipeg to Southern California in 1923. Durbin had an older sister named Edith, who recognized Deanna's musical talents at an early age and helped Deanna to take singing lessons at Ralph Thomas Academy. This led to her discovery by MGM in 1935. In late 1936, Cesar Sturani, who was the General Music Secretary of the Metropolitan Opera, offered Deanna Durbin an audition. Durbin turned down his request because she felt she needed more singing lessons. Andrés de Segurola, who was the vocal coach working with Universal Studios (and himself a former Metropolitan Opera singer), believed that Deanna Durbin had an excellent opportunity to become an opera star. Andrés de Segurola had been commissioned by the Metropolitan Opera to watch her progress carefully and keep them advised. Durbin started a collaboration with Eddie Cantor's radio show in 1936. This collaboration lasted until 1938 when her heavy workload for Universal Studios made it imperative for Durbin to discontinue her weekly appearances on Eddie Cantor's radio show.[2]
Durbin signed a contract with MGM in 1935 and made her first film appearance in a short subject, Every Sunday (1936), with another young contract player, Judy Garland. The film was to serve as an extended screen test for the pair as studio executives were questioning the wisdom of having two female singers on the roster. Ultimately Louis B. Mayer decreed that both girls would be kept, but by the time that decision was made Durbin's contract option had elapsed.[3]
Durbin was quickly signed to a contract with Universal Studios and made her first feature-length film Three Smart Girls in 1936. The huge success of her films was reported to have saved the studio from bankruptcy.[4] In 1938 she received a special Academy Juvenile Award, along with Mickey Rooney. Such was Durbin's international fame and popularity that diarist Anne Frank pasted her picture to her bedroom wall in the Achterhuis where the Frank family hid during World War II. The picture can still be seen there today, and was pointed out by Frank's friend Hannah Pick-Goslar in the documentary film Anne Frank Remembered.
Joe Pasternak who produced many of the early Deanna Durbin movies said about her:
"Deanna's genius had to be unfolded, but it was hers and hers alone, always has been, always will be, and no one can take credit for discovering her. You can't hide that kind of light under a bushel. You just can't, no matter how hard you try!"
In 1936, Durbin auditioned to provide the vocals for Snow White in Disney's animated film Snow White and the Seven Dwarfs but was ultimately rejected by Walt Disney, who declared the 15 year old Durbin's voice "too old" for the part.[5]
"Every Sunday" with Judy Garland
Durbin is perhaps best known for her singing voice, variously described as being light but full, sweet, unaffected and artless. With the technical skill and vocal range of a legitimate lyric soprano, she performed everything from popular standards to operatic arias. Dame Sister Mary Leo in New Zealand was so taken with Durbin's technique that she trained all her students to sing in this way. Sister Mary Leo produced a large number of famous sopranos including Dames Malvina Major and Kiri Te Kanawa.
The Russian cellist/conductor Mstislav Rostropovich in a late 1980s interview cited Deanna as one of his most important musical influences, stating: "She helped me in my discovery of myself. You have no idea of the smelly old movie houses I patronized to see Deanna Durbin. I tried to create the very best in my music, to try and recreate, to approach her purity."[6]
Durbin was the heroine of two 1941 novels, Deanna Durbin and the Adventure of Blue Valley and Deanna Durbin and the Feather of Flame, both written by Kathryn Heisenfelt and published by Whitman Publishing Company. "The heroine has the same name and appearance as the famous actress but has no connection … it is as though the famous actress has stepped into an alternate reality in which she is an ordinary person." The stories were probably written for a young teenage audience and are reminiscent of the adventures of Nancy Drew. They are part of a series known as "Whitman Authorized Editions", 16 books published between 1941-1947 that featured a film actress as heroine.[7]
"Musetta's Waltz" from La Bohem
Between December 15, 1936 and July 22, 1947, Deanna Durbin recorded 50 tunes for Decca Records. While often re-creating her movie songs for commercial release, Durbin also covered independent standards, like "Kiss Me Again", "My Hero", "Annie Laurie", "Poor Butterfly", "Love's Old Sweet Song" and "God Bless America".
The star-making five-year association of Deanna Durbin, producer Joe Pasternak and director Henry Koster ended following the film It Started With Eve in 1941. After Pasternak moved from Universal to MGM, Durbin went on suspension between October 16, 1941 and early February 1942 for refusing to appear in They Lived Alone, scheduled to be directed by Koster. Ultimately, the project was canceled when Durbin and Universal settled their differences. In the agreement, Universal conceded to Durbin the approval of her directors, stories and songs.[8]
Durbin married an assistant director, Vaughn Paul, in 1941 and they were divorced in 1943. Her second marriage, to film writer-producer-actor Felix Jackson in 1945, produced a daughter, Jessica Louise Jackson, and ended in divorce in 1949.
In private life, Durbin continued to use her given name; salary figures printed annually by the Hollywood trade publications listed the actress as "Edna Mae Durbin, player." Her studio continued to cast her in musicals, and filmed two sequels to her original success, Three Smart Girls. The second sequel was a wartime story called Three Smart Girls Join Up, but Durbin issued a press release announcing that she was no longer inclined to participate in these team efforts and was now performing as a solo artist. The Three Smart Girls Join Up title was changed to Hers to Hold. Joseph Cotten, who played alongside Deanna Durbin in Hers to Hold, praised her integrity and character in his autobiography.[9]
She made her only Technicolor film in 1944, Can't Help Singing, featuring some of the last melodies written by Jerome Kern plus lyrics by E. Y. Harburg. A musical comedy in a Western setting, this production was filmed mostly on location in southern Utah. Her co-star was Robert Paige, who is better known for his work in television dramas in the 1950s.[10]
Durbin tried to assume a more sophisticated movie persona in such vehicles as the World War II story of refugee children from China, The Amazing Mrs. Holliday (1943), directed in part by Jean Renoir, who left the project before its completion; the film noir Christmas Holiday (1944), directed by Robert Siodmak, and the whodunit Lady on a Train (1945), but her substantial fan base preferred her in light musical confections.
Rodgers and Hammerstein's groundbreaking Broadway production of Oklahoma! in 1943 might have showcased Deanna Durbin as original Laurie, but Universal refused to accept the proposal.
In 1945 and 1947, Deanna Durbin was the top-salaried woman in the United States. Her fan club ranked as the world's largest during her active years.
In 1946, her employers merged with two other companies to create Universal-International, and the new regime discontinued much of Universal's familiar product and scheduled only a few musicals. Durbin stayed on for another four pictures, but her two releases of 1948, Up in Central Park, a film adaptation of the 1945 Broadway musical, and then what became her last feature, For the Love of Mary, saw her international box-office clout diminish. On August 22, 1948, two months after the latter film was finished, Universal-International announced a lawsuit which sought to collect from Durbin $87,083 in wages the studio had paid her in advance.[11] Durbin settled the complaint amicably by agreeing to star in three more pictures, including one to be shot on location in Paris. Ultimately, the studio would allow Deanna's contract to expire on August 31, 1949, so the three films were not produced. Durbin, who obtained a $200,000 ($1,842,577 as of 2011),[12] severance payment[13] chose at this point to retire from movie making, already having turned down Bing Crosby's request for her to appear in his 1949 attractions for Paramount Pictures: Top o' the Morning and/or A Connecticut Yankee in King Arthur's Court.
"Can't Help Singin"
In Paris on December 21, 1950, Deanna Durbin, shortly after turning 29 years old, married Charles David, the producer-director of both French and American pictures who had guided her through Lady on a Train (1945). Durbin and David raised two children: Jessica (from her second marriage to Felix Jackson) and Peter (from her union with David).
Over the years, Durbin resisted numerous offers to perform again, including two choice proposals by MGM, asking her to take the female lead in the screen version of Cole Porter's Kiss Me Kate (1953), and to costar with Mario Lanza in Sigmund Romberg's operetta, The Student Prince (1954). As for stage shows, Durbin had been invited to play Kiss Me Kate 's Lilli Vanessi in London's 1951-52 West End production, and reportedly, Alan Jay Lerner first had Deanna in mind to portray Eliza Doolittle in the 1956 Broadway cast of My Fair Lady. Suggestions that Durbin vocalize at the major Las Vegas casinos went unfulfilled.
She granted only one interview in 1983, to film historian David Shipman, steadfastly asserting her right to privacy. She maintains that privacy today, declining to be profiled on Internet websites.[14]
"Nessun Dorma" from Puccini's opera, Turandot.
However, Durbin has made it known that she did not like the Hollywood studio system. She has emphasized that she never identified herself with the public image that the media created around her. She speaks of the Deanna "persona" in the third person and considers the film character Deanna Durbin a by-product of her youth and not her true self.[15]
Durbin's husband of over 48 years, Charles David, died in Paris on March 1, 1999.
Deanna Durbin has a star on the Hollywood Walk of Fame at 1722 Vine Street.
Frank Tashlin's 1937 Warner Bros. cartoon The Woods are Full of Cuckoos contains an avian caricature of Deanna Durbin called "Deanna Terrapin".
Durbin's name found its way into the introduction to a song written by satirical writer Tom Lehrer in 1965. Prior to singing "Whatever Became of Hubert?", Lehrer said that Vice President Hubert Humphrey had been relegated to "those where-are-they-now columns: Whatever became of Deanna Durbin, and Hubert Humphrey, and so on."
She is mentioned in Richard Brautigan's novel Trout Fishing in America, when the narrator claims to have seen one of her movies seven times, but can't recall which one.[16]
1936 Edna short subject (opposite Judy Garland)
Three Smart Girls
1936 Penelope "Penny" Craig Academy Juvenile Award
One Hundred Men and a Girl
1937 Patricia Cardwell
Mad About Music
1938 Gloria Harkinson
That Certain Age
1938 Alice Fullerton
Three Smart Girls Grow Up
1939 Penny Craig
For Auld Lang Syne: No. 4
1939 Herself short subject
1939 Constance "Connie" Harding
1940 Pamela Drake a short subject, Gems of Song, was excerpted from this feature in 1949
Spring Parade
1940 Ilonka Tolnay
Nice Girl?
1941 Jane "Pinky" Dana
Friend Indeed, AA Friend Indeed
1941 Herself short subject for the American Red Cross
It Started with Eve
1941 Anne Terry
Amazing Mrs. Holliday, TheThe Amazing Mrs. Holliday
1943 Ruth Kirke Holliday
Show Business at War
Hers to Hold
His Butler's Sister
1943 Ann Carter
Road to Victory
1944 Jackie Lamont/Abigail Martin
Can't Help Singing
1944 Caroline Frost her only film in Technicolor
Lady on a Train
1945 Nikki Collins/Margo Martin
1946 Kim Walker
I'll Be Yours
1947 Louise Ginglebusher
Something in the Wind
1947 Mary Collins
Up in Central Park
1948 Rosie Moore
For the Love of Mary
1948 Mary Peppertree
Deanna Durbin songs
A Heart That's Free [From "100 Men and a Girl"]
Alice Blue Gown
Alleluia [From "100 Men and a Girl"]
Always [From "Christmas Holiday"]
Adeste Fideles (O Come All Ye Faithful)
Amapola [From "First Love"]
Any Moment Now [From "Can`t Help Singing"]
Ave Maria [From "Mad About Music"]
Ave Maria [From "It's a Date"]
Be A Good Scout [From "That Certain Age"]
Because [From "Three Smart Girls Grow Up"]
Begin the Beguine [From "Hers to Hold"]
Beneath the Lights of Home [From "Nice Girl"]
Brahms' Lullaby [From "I'll Be Yours"]
Brindisi (Libiamo ne' lieti calici) [From "100 Men and a Girl"]
Californ-I-Ay
Can't Help Singing [From "Can`t Help Singing"]
Can't Help Singing (Deanna Durbin & Robert Paige) [From "Can`t Help Singing"]
Carmena Waltz
Chapel Bells [From "Mad About Music"]
Cielito Lindo (Beautiful Heaven)
Clavelitos (J. Valverde) [From "It Started with Eve"]
Danny Boy [From "Because of Him"]
Embrace Me
Every Sunday (with Judy Garland)
Filles de Cadiz (The Maids of Cadiz) [From "That Certain Age"]
Gimme a Little Kiss, Will Ya, Huh? [From "Lady on a Train"]
Goin' Home [From "It Started With Eve"]
Goodbye [From "Because of Him"]
Granada [From "I'll Be Yours"]
Home! Sweet Home! [From "First Love"]
Il Bacio (The Kiss) [From "Three Smart Girls"]
I'll Follow My Sweet Heart
I'll Take You Home Again Kathleen [From "For The Love Of Mary"]
I'll See You In My Dreams
I Love to Whistle [From "Mad About Music"]
(I'm) Happy Go Lucky and Free [From "Something in the Wind"]
(I'm) Happy Go Lucky and Free [From "Something in the Wind"] (Deanna Durbin & Donald O'Connor)
In the Spirit of the Moment [From "His Butler's Sister"]
Italian Street Song
It's a Big, Wide, Wonderful World [From "For The Love Of Mary"]
It's Dreamtime [From "I'll Be Yours"]
It's Foolish But It's Fun [From "Spring Parade"]
It's Only Love [From "Something In The Wind"]
It's Raining Sunbeams [From "100 Men and a Girl"]
Invitation To The Dance [From "Three Smart Girls Grow Up"]
Je Veux Vivre (from Roméo et Juliette) [From "That Certain Age"]
La Estrellita (Little Star)
Largo Al Factotum (from The Barber of Seville) [From "For The Love Of Mary"]
Loch Lomond [From "It's a Date"]
Love At Last [From "Nice Girl"]
Love Is All [From "It's a Date"]
Lover [From "Because of Him"]
Love's Old Sweet Song
Make Believe (Jerome Kern song)
More and More [From "Can`t Help Singing"]
More And More/Can't Help Singing [From "Can`t Help Singing"]
Musetta's Waltz (from La bohème) [From "It's a Date"]
My Heart Is Singing [From "Three Smart Girls Grow Up"]
My Own [From "That Certain Age"]
Nessun Dorma (from Turandot) [From "His Butler's Sister"]
Never in a Million Years/Make Believe
Night and Day [From "Lady on a Train"]
Old Folks at Home [From "Nice Girl"]
On Moonlight Bay [From "For The Love Of Mary"]
One Fine Day (from Madama Butterfly) [From "First Love"]
One Night Of Love
Pace, Pace, Mio Dio (La forza del destino) [From "Up In Central Park"]
Pale Hands I Loved (Kashmiri Song) [From "Hers to Hold"]
Perhaps [From "Nice Girl"]
Poor Butterfly
Russian Medley [From "His Butler's Sister"]
Sari Waltz (Love's Own Sweet Song) [From "I'll Be Yours"]
Say a Pray'r for the Boys Over There [From "Hers to Hold"]
Seguidilla (from Carmen) [From "Hers To Hold"]
Serenade to the Stars [From "Mad About Music"]
Silent Night [From "Lady On A Train"]
Someone to Care for Me [From "Three Smart Girls"]
Something in the Wind [From "Something in the Wind"]
Spring in My Heart [From "First Love"]
Spring Will Be A Little Late This Year [From "Christmas Holiday"]
Swanee – Old Folks At Home [From "Nice Girl"]
Summertime (from Porgy And Bess)
Thank You America [From "Nice Girl"]
The Blue Danube [From "Spring Parade"]
The Last Rose of Summer [From "Three Smart Girls Grow Up"]
The Old Refrain [From "The Amazing Mrs. Holiday"]
The Turntable Song [From "Something in the Wind"]
There'll Always Be An England [From "Nice Girl"]
Two Guitars ["Две гитары" – Russian Gypsy Folk song (Lyrics – Apollon Grigoriev, music – Ivan Vasiliev), from "His Butler's Sister" (1943)]
Un bel di vedremo (from Madama Butterfly) [From "First Love"]
Viennese Waltz [From "For The Love Of Mary"]
Vissi d'arte (from Tosca) [From "The Amazing Mrs. Holiday"]
Waltzing in the Clouds [From "Spring Parade"]
When April Sings [From "Spring Parade"]
When I Sing [From "It Started with Eve"]
When The Roses Bloom Again
When You're Away [From "His Butler's Sister"]
You Wanna Keep Your Baby Looking Nice, Don't You [From "Something in the Wind"]
You're As Pretty As A Picture [From "That Certain Age"]
Categories: Big Band / Swing, Featured Performers, Female Vocalists, Hollywood, Opera . Tags: Academy Juvenile Award, Canada, Deanna Durbin, Dick Durbin, Eddie Cantor, judy garland, metropolitan opera, Universal Studios . Author: Paul Roth . Comments: Leave a comment
Annette Joanne Funicello (October 22, 1942 – April 8, 2013) was an American actress and singer. Beginning her professional career as a child performer at the age of twelve, Funicello rose to prominence as one of the most popular "Mouseketeers" on the original Mickey Mouse Club.[1] As a teenager, she transitioned to a successful career as a singer with the pop singles "O Dio Mio," "Tall Paul" and "Pineapple Princess", as well as establishing herself as a film actress, popularizing the successful "Beach Party" genre alongside co-star Frankie Avalon during the mid-1960s.
In 1992, Funicello announced that she had been diagnosed with multiple sclerosis. She died of complications of the disease on April 8, 2013.[2][3]
The Mickey Mouse Club
Funicello took dancing and music lessons as a child to overcome shyness. In 1955, the 12-year-old was discovered by Walt Disneywhen she performed as the Swan Queen in Swan Lake at a dance recital at the Starlight Bowl in Burbank, California. Disney cast her as one of the original "Mouseketeers". She was the last to be selected, and one of the few cast-members to be personally selected by Walt Disney himself. She proved to be very popular and by the end of the first season of Mickey Mouse Club, she was receiving 6,000 letters a month, according to her Disney Legends biography.
In addition to appearing in many Mouseketeer sketches and dance routines, Funicello starred in several serials on The Mickey Mouse Club. These included Adventure in Dairyland, Walt Disney Presents: Annette (which co-starred Richard Deacon), and the second and third Spin and Marty serials – The Further Adventures of Spin and Marty and The New Adventures of Spin and Marty.
A proposed live-action feature Rainbow Road to Oz was to have starred some of the Mouseketeers, including Darlene Gillespie as Dorothy and Funicello as Ozma. Preview segments from the film aired on September 11, 1957 on Disneyland's fourth anniversary show.[6] By then, MGM's The Wizard of Oz had already been shown on CBS Television for the first time. Theories on why the film was abandoned include Disney's failure to develop a satisfactory script, and the popularity of the MGM film on television. Disney ultimately replaced this film project with a new adaptation of Babes in Toyland (1961).
In a hayride scene in the Annette serial, she performed the song that launched her singing career. The studio received so much mail about "How Will I Know My Love" (lyrics by Tom Adair, music by Frances Jeffords and William Walsh[7][8]), that Walt Disney issued it as a single, and gave Funicello (somewhat unwillingly) a recording contract.[9]
Singing and acting
Funicello and Richard Tyler on The Danny Thomas Show(1959)
After the Mickey Mouse Club, she remained under contract with Disney for a time, with television roles in Zorro, Elfego Baca, andThe Horsemasters. For Zorro she played Anita Campillo in a three-episode storyline about a teen-aged girl who arrives in Los Angeles to visit a father who does not seem to exist. This role was reportedly a birthday present from Walt Disney, and the first of two different characters played opposite Guy Williams as Zorro. Annette also co-starred in Disney-produced movies such as The Shaggy Dog, Babes in Toyland, The Misadventures of Merlin Jones, and The Monkey's Uncle.[10]
Although uncomfortable being thought of as a singer, Funicello had a number of pop record hits in the late 1950s and early 1960s, mostly written by the Sherman Brothers and including: "Tall Paul," "First Name Initial," "O Dio Mio," "Train of Love" (written by Paul Anka) and "Pineapple Princess." They were released by Disney's Buena Vista label. Annette also recorded "It's Really Love" in 1959, a reworking of an earlier Paul Anka song called "Toot Sweet"; Anka reworked the song for a third time in 1962 as "Johnny's Theme" and it opened The Tonight Show Starring Johnny Carson on television for the next three decades. Paul Anka was noted to have a crush on her, however, Walt Disney overprotected Annette, which broke Paul's heart. This resulted in his song "Puppy Love", which was inspired by his hopeless romantic crush on Annette.
In an episode of the Disney anthology television series titled "Disneyland After Dark," Funicello can be seen singing live atDisneyland. Walt Disney was reportedly a fan of 1950s pop star Teresa Brewer and tried to pattern Funicello's singing in the same style. However, Funicello credits "the Annette sound" to her record producer, Tutti Camarata, who worked for Disney in that era. Camarata had her double-track her vocals, matching her first track as closely as possible on the second recording to achieve a fuller sound than her voice would otherwise produce.[citation needed] Early in her career, she appeared on the NBC interview program Here's Hollywood.[9]
Funicello moved on from Disney to become a teen idol, starring in a series of "Beach Party" movies with Frankie Avalon for American International Pictures. These included Beach Party (1963), Muscle Beach Party (1964), Bikini Beach (1964), Pajama Party (1964),Beach Blanket Bingo (1965) and How to Stuff a Wild Bikini (1965). The wholesome image earned in these films gained her a reference in the Grease song "Look at me, I'm Sandra Dee."
When she was cast in her first beach movie, Walt Disney requested that she only wear modest bathing suits and keep her navelcovered. However, she wore a pink two-piece in Beach Party, a white two-piece fishnet suit in the second film (Muscle Beach Party) and a blue and white bikini in the third (Bikini Beach). All three swimsuits bared her navel, particularly in Bikini Beach, where it is visible extensively during close up shots in a sequence early in the film when she meets Frankie Avalon's "Potato Bug" character outside his tent.[11]
She and Avalon became iconic as "beach picture" stars and were re-united in 1987 for the Paramount film Back to the Beach, parodying their own surf-and-sand films two decades earlier. They toured the country as a singing act.
In 1979 Funicello began starring in a series of television commercials for Skippy peanut butter.[12]
Her autobiography, dictated to Patricia Romanowski and published in 1994, was A Dream Is a Wish Your Heart Makes: My Story. The title was taken from a song from the Disney movie Cinderella. A made-for-TV movie based on the book, A Dream Is a Wish Your Heart Makes: The Annette Funicello Story, was made in 1995. In the final scene, the actress portraying Funicello (Eva LaRue), using a wheelchair, turns away from the camera — turning back, it is Funicello herself, who delivered a message to a group of children. During this period, she produced a line of teddy bears for the Annette Funicello Collectible Bear Company.[5] The last collection in the series was made in 2004. She also had her own fragrance called "Cello, by Annette".
In 1992, she was inducted as a Disney Legend.[13]
Funicello's best friend was actress and singer Shelley Fabares. She and Fabares had been friends since they were young teenagers in a catechism class, and Fabares was a bridesmaid at Funicello's first wedding. She was also very close to fellow Mouseketeers Lonnie Burr (she later claimed in an autobiography that he was her first boyfriend during the first season of the Mickey Mouse Club), Sharon Baird, Doreen Tracey, Cheryl Holdridge, her "Disney" co-star, Tommy Kirk, and her "Beach" movies co-star, Frankie Avalon.
Marriages and children
Funicello was married to her first husband, Jack Gilardi, from 1965 until 1981. They had three children: Gina (b. 1966), Jack, Jr. (b. 1970), and Jason (b. 1974). In 1986, she married California harness racing horse breeder/trainer Glen Holt.[5] The couple were frequently seen at Los Alamitos Race Course and at Fairplex in Pomona in the 1980s and 1990s attending harness horse races.
In March 2011, her Encino, California home caught fire. She suffered smoke inhalation, but was otherwise unharmed.[14]
After the fire, Funicello and Holt then began living full time at the modest ranch that they purchased decades earlier, located just south of Shafter, California (north of Bakersfield). That remained her primary residence until her death.[2]
In 1987, Funicello reunited with Frankie Avalon for a series of promotional concerts to promote their film Back to the Beach. She began to suffer from dizzy spells, but kept her failing health from her friends and family. In 1992, Funicello announced that she was suffering from multiple sclerosis.[15] She had kept her condition a secret for many years, but felt it necessary to go public to combat rumors that her impaired ability to walk was the result of alcoholism. In 1993, she opened the Annette Funicello Fund for Neurological Disorders at the California Community Foundation.
On October 6, 2012, the CTV flagship current affairs program W5 profiled Funicello as an update on her after she had spent fifteen years out of the public eye. The profile revealed that her disease had severely damaged her nervous system; Funicello had lost the ability to walk in 2004, the ability to speak in 2009, and, at the time of the profile, required round-the-clock care to survive. In the profile, Holt and Fabares discussed Funicello's current state, as well as the numerous medical interventions and treatments attempted to improve her condition.[16]
On April 8, 2013, Funicello died at Mercy Southwest Hospital in Bakersfield, California, at the age of 70, from complications due to her multiple sclerosis.[17]Commenting on her death, Bob Iger, Chairman and CEO of The Walt Disney Company, said,
"Annette was and always will be a cherished member of the Disney family, synonymous with the word Mousketeer, and a true Disney Legend. She will forever hold a place in our hearts as one of Walt Disney's brightest stars, delighting an entire generation of baby boomers with her jubilant personality and endless talent. Annette was well known for being as beautiful inside as she was on the outside, and she faced her physical challenges with dignity, bravery and grace. All of us at Disney join with family, friends, and fans around the world in celebrating her extraordinary life." [18]
Categories: Female Vocalists, Hollywood, International, Pop/Rock . Tags: Annette Funicello, Darlene Gillespie, Frankie Avalon, Funicello, Mickey Mouse Club, Pineapple Princess, Rainbow Road to Oz, Walt Disney . Author: Paul Roth . Comments: Leave a comment
Patty is center in the photo
Patty Andrews, the last of the Andrews Sisters, the jaunty vocal trio whose immensely popular music became part of the patriotic fabric of World War II America, died on Wednesday at her home in Los Angeles. She was 94. Lynda Wells, a niece, confirmed the death.
With their jazzy renditions of songs like "Boogie Woogie Bugle Boy (of Company B)," "Rum and Coca-Cola"and "Don't Sit Under the Apple Tree (With Anyone Else but Me)," Patty, Maxene and LaVerne Andrews sold war bonds, boosted morale on the home front, performed withBing Crosby and with theGlenn Miller Orchestra, made movies and entertained thousands of American troops overseas, for whom the women represented the loves and the land the troops had left behind.
Patty, the youngest, was a soprano and sang lead; Maxene handled the high harmony; and LaVerne, the oldest, took the low notes. They began singing together as children; by the time they were teenagers they made up an accomplished vocal group. Modeling their act on the commercially successful Boswell Sisters, they joined a traveling revue and sang at county fairs and in vaudeville shows. Their big break came in 1937 when they were signed by Decca Records, but their first recording went nowhere.
Their second effort featured the popular standard "Nice Work If You Can Get It," but it was the flip side that turned out to be pure gold. The song was a Yiddish show tune,"Bei Mir Bist Du Schön (Means That You're Grand)," with new English lyrics bySammy Cahn, and the Andrews Sisters' version, recorded in 1937, became the top-selling record in the country.
Other hits followed, and in 1940 they were signed by Universal Pictures. They appeared in more than a dozen films during the next seven years — sometimes just singing, sometimes also acting. They made their film debut in "Argentine Nights," a 1940 comedy that starred the Ritz Brothers, and the next year appeared in three films with Bud Abbott and Lou Costello:"Buck Privates," "In the Navy"and "Hold That Ghost." Their film credits also include "Swingtime Johnny" (1943), "Hollywood Canteen" (1944) and the Bob Hope-Bing Crosby comedy "Road to Rio" (1947).
After selling more than 75 million records, the Andrews Sisters broke up in 1953 when Patty decided to go solo. By 1956 they were together again, but musical tastes were changing and they found it hard to adapt. When LaVerne Andrews died of cancer in 1967, no suitable replacement could be found, and Patty and Maxene soon went their separate ways. Patty continued to perform solo, and Maxene joined the staff of a private college in South Lake Tahoe, Calif.
Patricia Marie Andrews was born on Feb. 16, 1918, in Minneapolis. Her father, Peter, was a Greek immigrant who changed his name from Andreos to Andrews when he came to America. Her mother, Olga, was Norwegian.
Like her older sisters, Patty learned to love music as a child (she also became a good tap dancer), and she did not have to be persuaded when Maxene suggested that the sisters form a trio in 1932. She was 14 when they began to perform in public.
As their fame and fortune grew, the sisters came to realize that the public saw them as an entity, not as individuals. In a 1974 interview with The New York Times, Patty explained what that was like: "When our fans used to see one of us, they'd always ask, 'Where are your sisters?' Every time we got an award, it was just one award for the three of us." This could be irritating, she said with a touch of exasperation: "We're not glued together."
The Andrews Sisters re-entered the limelight in the early 1970s when Bette Midler releasedher own recording of "Boogie Woogie Bugle Boy," modeled closely on theirs. It reached the Top 10, and its success led to several new compilations of the Andrews Sisters' own hits.
The previous year, Patty Andrews had appeared in a West Coast musical called "Victory Canteen," set during World War II. When the show was rewritten for Broadway and renamed "Over Here!," the producers decided that the Andrews Sisters were the only logical choice for the leads. They hired Patty and lured Maxene back into show business as well. The show opened in March 1974 and was the sisters' belated Broadway debut. It was also the last time they sang together.
The sisters got into a bitter money dispute with the producers and with each other, leading to the show's closing in January 1975 and the cancellation of plans for a national tour. After that, the sisters pursued solo careers into the 1990s. They never reconciled and were still estranged when Maxene Andrews died in 1995.
Patty Andrews's first marriage, to the movie producer Marty Melcher, lasted two years and ended in divorce in 1949. (Mr. Melcher later married Doris Day.) In 1951 she married Wally Weschler, who had been the sisters' pianist and conductor and who later became her manager. They had no children. Mr. Weschler died in 2010. Ms. Andrews is survived by her foster daughter, Pam DuBois.
A final salute to the Andrews Sisters came in 1991 in the form of "Company B," a ballet by the choreographer Paul Taylor subtitled "Songs Sung by the Andrews Sisters." The work, which featured nine of the trio's most popular songs, including "Rum and Coca-Cola" and, of course, "Boogie Woogie Bugle Boy," underscored the enduring appeal of the three sisters from Minneapolis.
Sources: ROBERT BERKVIST, YouTube, IMDB.com
Categories: Big Band / Swing, Broadway, Featured Performers, Female Vocalists, Hollywood, International, Jazz . Tags: boogie woogie bugle, boogie woogie bugle boy, boogie woogie bugle boy of company b, bugle boy of company b, celebrities, entertainment . Author: Paul Roth . Comments: Leave a comment
Celeste Holm (April 29, 1917 – July 15, 2012) was an American stage, film and television actress, known for her Academy Award-winning performance in Gentleman's Agreement (1947), as well as for her Oscar-nominated performances in Come to the Stable(1949) and All About Eve (1950) and originating the role of Ado Annie in the Rodgers and Hammerstein musical Oklahoma! (1943).
Born and raised in New York City, Holm grew up as an only child. Her mother, Jean Parke, was an American portrait artist and author; her father, Theodor Holm, was a Norwegian businessman whose company provided marine adjustment services for Lloyd's of London. Because of her parents' occupations, she traveled often during her youth and attended various schools in Holland, France and the United States. She graduated from University High School for Girls in Chicago, where she performed in many school stage productions. She then studied drama at the University of Chicago before becoming a stage actress in the late 1930s.
Holm's first professional theatrical role was in a production of Hamlet starring Leslie Howard. Her first role on Broadway was a small part in 1938 comedy Gloriana, which lasted five performances. Her first major Broadway part was as Mary L. in William Saroyan's 1940 revival of The Time of Your Life co-starring fellow newcomer Gene Kelly. The role that got her the most recognition from critics and audiences was Ado Annie in the flagship Broadway production of Rodgers and Hammerstein's Oklahoma! in 1943.
After she starred in the Broadway production of Bloomer Girl, 20th Century Fox signed Holm to a movie contract in 1946. She made her film debut that same year in Three Little Girls in Blue, making a startling entrance in a "Technicolor red" dress singing "Always a Lady," a belting Ado Annie-type song, although the character was different—a lady. In 1947 she won an Oscar and Golden Globe for Best Supporting Actress in Gentleman's Agreement. After her performance in All About Eve, however, Holm realized she preferred live theater to movie work, and only accepted a few select film roles over the following decade. The most successful of these were the comedy The Tender Trap (1955) and the musical High Society (1956), both of which co-starred Frank Sinatra. She starred as a professor-turned-reporter in New York City in the CBS television series Honestly, Celeste! (fall 1954) and was thereafter a panelist onWho Pays? (1959). She also appeared several times on ABC's The Pat Boone Chevy Showroom.
In My Own Little Corner
In 1958, she starred as a reporter in an unsold television pilot called The Celeste Holm Show, based on the book No Facilities for Women. Holm also starred in the musical The Utter Glory of Morrissey Hall. In 1965, she played the Fairy Godmother alongside Lesley Ann Warren in the CBS production of Cinderella. In 1970-71, she was featured on theNBC sitcom Nancy, with Renne Jarrett, John Fink and Robert F. Simon. In the story line, Holm played Abby Townsend, the press secretary of the First Lady of the United Statesand the chaperon of Jarrett's character, Nancy Smith, the President's daughter.
During the 1970s and 1980s, Holm did more screen acting, with roles in films such as Tom Sawyer and Three Men and a Baby, and in television series (often as a guest star) such as Columbo, The Eleventh Hour, Archie Bunker's Place and Falcon Crest. In 1979, she played the role of First Lady Florence Harding in the television mini-series,Backstairs at the White House. She was a regular on the ABC soap opera Loving, appearing first in 1986 in the role of Lydia Woodhouse and again as Isabelle Dwyer Alden #2 from 1991 to 1992. She last appeared on television in the CBS television series Promised Land (1996–99).
Holm received numerous honors during her lifetime, including the 1968 Sarah Siddons Award for distinguished achievement in Chicago theatre; she was appointed to the National Arts Council by then-President Ronald Reagan, appointed Knight, First Class of the Order of St. Olav by King Olav of Norway in 1979,[1] and inducted into the American Theatre Hall of Fame in 1992. She remained active for social causes as a spokesperson for UNICEF, and for occasional professional engagements. From 1995 she was Chairman of the Board of Arts Horizons, a not-for-profit arts-in-education organization.
"I Can't Say No"
In 2006, Holm was presented with a Lifetime Achievement Award by the SunDeis Film Festival at Brandeis University.[2]
Holm was a guest at the 2009 Mid-Atlantic Nostalgia Convention in Aberdeen, Maryland. Some of the movies in which she appeared were screened at the festival, and the un-aired television pilot for Meet Me in St. Louis was shown. She received an honorary award during the dinner banquet at the close of the event.
Attending the Academy Awards in 1988
Holm's first marriage was to Ralph Nelson in 1936.[3] Their son, Internet pioneer and sociologist Ted Nelson (né Theodor Holm Nelson; born 1937), was raised by his maternal grandparents. The marriage ended in 1939. In his 2010 memoir, Possiplex, her son, credited with coining the term "hypertext", described this and other choices as "entirely the right decisions". He reportedly did not name his mother in the book.[4]
Holm married Francis Emerson Harding Davies, an English auditor, on January 7, 1940. Davies was a Roman Catholic, and she was received into the Roman Catholic Church for the purposes of their 1940 wedding; the marriage was dissolved on May 8, 1945.[5]
From 1946 to 1952, Holm was married to airline public relations executive A. Schuyler Dunning, with whom she had a second son, businessman Daniel Dunning.[6]
From 1961 to 1996, she was married to fellow thespian Wesley Addy (1913–1996), until his death at age 83 in 1996.
On April 29, 2004, her 87th birthday, Holm married opera singer Frank Basile, age 41.[7] The couple met in October 1999 at a fundraiser at which Basile was hired to sing. Soon after their marriage, Holm and Basile sued to overturn the irrevocable trust that was created in 2002 by Daniel Dunning, Holm's younger son. The trust was ostensibly set up to shelter Holm's financial assets from taxes, although Basile contended the real purpose of the trust was to keep him away from her money. The lawsuit began a five-year battle with her sons, which cost millions of dollars, and according to an article in The New York Times, left Holm and her husband with a fragile hold on their home, which Holm purchased for $10,000 cash in 1953 from her film earnings, and which is now believed to be worth at least $2,000,000
According to her husband, Holm had been treated for memory loss since 2002, suffered skin cancer, bleeding ulcers and a collapsed lung, and had hip replacements and pacemakers.[4][8]
In June 2012, Holm was admitted to New York's Roosevelt Hospital with dehydration. She suffered a heart attack on July 13 in the facility, dying at home on July 15[9] where she chose to spend her final days. She is survived by husband Frank Basile and her sons.[10][11][12]
Three Little Girls in Blue (1946)
Carnival in Costa Rica (1947)
Gentleman's Agreement (1947)
Road House (1948)
Chicken Every Sunday (1949)
A Letter to Three Wives (1949); voiceover as "Addie Ross"
Come to the Stable (1949)
Everybody Does It (1949)
Champagne for Caesar (1950)
All About Eve (1950)
The Tender Trap (1955)
High Society (1956)
Bachelor Flat (1962)
Rodgers and Hammerstein's Cinderella (1965)
Doctor, You've Got to Be Kidding! (1967)
Tom Sawyer (1973)
Bittersweet Love (1976)
The Private Files of J. Edgar Hoover (1977)
Backstairs at the White House (1979)
The Shady Hill Kidnapping (1982); teleplay by John Cheever
Three Men and a Baby (1987)
Once You Meet a Stranger (1996)
Still Breathing (1997)
Broadway: The Golden Age, by the Legends Who Were There (2003); documentary
Alchemy (2005)
Stage appearances
Gloriana [Broadway] – Cast as Lady Mary. (1938)
Another Sun [Broadway] – Cast as Maria. (1940)
The Return of the Vagabond [Broadway] – Cast as His Daughter. (1940)
The Time of Your Life [Broadway] – Cast as Mary L. (1940)
Eight O'Clock Tuesday [Broadway] – Cast as Marcia Godden. (1941)
My Fair Ladies [Broadway] – Cast as Lady Keith-Odlyn. (1941)
Papa is All [Broadway] – Cast as Emma. (1942)
All the Comforts of Home [Broadway] – Cast as Fifi Oritanski. (1942)
The Damask Cheek [Broadway] – Cast as Calla Longstreth. (1942)
Oklahoma! [Broadway] – Original Production – Cast as Ado Annie Carnes. (1943)
Bloomer Girl [Broadway] – Original Production – Cast as Evelina. (1944)
Affairs of State [Broadway] – Cast as Irene Elliott. (1950)
The King and I [Broadway] – Original Production – Cast as Anna Leonowens [Replacement]. (1951)
Anna Christie [Broadway] – Cast as Anna Christopherson. (1952)
His and Hers [Broadway] – Cast as Maggie Palmer. (1954)
Interlock [Broadway] – Cast as Mrs. Price. (1958)
Third Best Sport [Broadway] – Cast as Helen Sayre. (1958)
Invitation to a March [Broadway] – Original Production – Cast as Camilla Jablonski. (1960)
Mame [Broadway] – Original Production – Cast as Mame Dennis [Replacement]. (1966)
Candida [Broadway] -Cast as Candida. (1970)
Babylove [Replacement].
The Grass Harp [Broadway] – Original Production. (1971)
Mama [Broadway] – Closed on the road. (1972)
Habeas Corpus [Broadway] – Cast as Lady Rumpers – A Pillar of the Empire. (1974)
The Utter Glory of Morrissey Hall [Broadway] – Original Broadway Production – Cast as Julia Faysle Headmistress.(1979)
I Hate Hamlet [Broadway] – Cast as Lillian Troy. (1991)
Allegro [Off-Broadway] – Encores! Concert – Cast as Grandma Taylor. (1994)
Columbo in "Old Fashioned Murder" (1976)
Honestly, Celeste! as Celeste Anders
Jessie (1985) as Molly Hayden
Kilroy as Mrs. Fuller
Loving as Lydia Woodhouse (1986) / Isabelle Dwyer Alden (#2) (1991-1992)
Nancy Abigail as 'Abby' Townsend
Promised Land as Hattie Greene
The Academy Awards as Herself – Host
The Delphi Bureau as Sybil Van Loween (pilot film)
Archie Bunker's Place as Estelle Harris
Falcon Crest as Anna Rossini
The New Hollywood Squares as Herself
Alcoa Premiere as Laura Bennett in "Cry Out in Silence"
American Playhouse as Herself in "The Shady Hill Kidnapping"
Burke's Law as Helen Forsythe in "Who Killed the Kind Doctor?"
Celebrity Time as Herself on 5/6/1951
Cheers as Grandmother Gaines in "No Rest For the Woody"
Christine Cromwell as Samantha Cromwell in "Vito Veritas"
Climax! as Mary Miller in "The Empty Room Blues"
Columbo as Phyllis Brandt in "Old Fashioned Murder"
Disneyland as Deirdre Wainwright in "Bluegrass Special"
Dr. Kildare as Nurse Jane Munson in "The Pack Rat" and "Prima Donna"
Fantasy Island #1978# as Sister Veronica in "Look-Alikes" / "The Winemaker"
Fantasy Island #1978# as Mabel Jarvis in "The Beachcomber" / "The Last Whodunit"
Follow the Sun as Miss Bullfinch in "The Irresistible Miss Bullfinch"
Ford Startime as Host/Special Guest Star in "Fun Fair"
Four Star Revue as Guest on November 8, 1950
The Fugitive #1965-1967#
Goodyear Television Playhouse as Maggie Travis in "The Princess Back Home"
Great Performances as Performer in "Talking With"
Hallmark Hall of Fame as Phoebe Meryll in "The Yeoman of the Guard"
Inside U.S.A. with Chevrolet as Herself in "Celeste Holm"
Insight as Mrs. Berns in "Fat Hands and a Diamond Ring"
Kraft Music Hall as Herself in "Celeste Holm"
Long Hot Summer as Libby Rankin in "Face Of Fear"
Lucan in "You Can't Have My Baby"
Magnum, P.I. as Abigail Baldwin in "The Love That Lies"
Manhunter Clara in "The Truck Murders"
Matt Houston as Catherine Hershey in "Company Secrets"
Medical Center as Dr. Linda Wilson in "No Margin for Error"
Medical Center as Geraldine Stern in "Web of Intrigue"
Mr. Novak as Guest Star in "An Elephant is Like a Tree"
Play of the Week as Virginia in "A Clearing in the Woods"
Producers' Showcase as Mad Meggie in "Jack and the Beanstalk"
Run for Your Life as Margot Horst in "The Cold, Cold War Of Paul Bryan"
Schlitz Playhouse of Stars as Guest Star in "Four's a Family"
Schlitz Playhouse of Stars as Guest Star in "The Wedding Present"
Spenser: For Hire as Rose in "Haunting"
Studio 57 as Guest Star in "Robin"
Stump The Stars as Herself on April 15, 1963
The Academy Awards as Herself in The 70th Annual Academy Awards
The Academy Awards as Herself – Performer in The 25th Annual Academy Awards
The Beat #2000# as Frances Robinson in "Can I Get A Witness?"
The Beat #2000# as Frances Robinson in "Three Little Words"
The Colgate Comedy Hour as Guest on April 15, 1951
The Colgate Comedy Hour as Cameo on August 7, 1955
The Dick Cavett Show as Herself on October 20, 1972
The Ed Sullivan Show as Herself in Edith Piaf / Celeste Holm / Betty Comden & Adolph Green / Pat Suzuki"
The Ed Wynn Show as Guest in Celeste Holm
The Eleventh Hour #1962# as Billie Hamilton in "How Do I Say I Love You?"
The F.B.I. as Flo Clementi in "The Executioners" #2#
The Fugitive #1963# as Pearl in "Concrete Evidence"
The Fugitive #1963# as Flo Hagerman in "The Old Man Picked a Lemon"
The Jimmy Durante Show as Guest on November 19, 1955
The Love Boat as Guest Star in "The Buck Stops Here"/"For Better or Worse"/"Bet On It"
The Love Boat as Eva McFarland in "The Love Boat II"
The Love Boat as Estelle Castlewood in "A Good & Faithful Servant"/"Secret Life of Burl Smith"/"Tug of War"/"Designated Lover"
The Lux Video Theatre as Katherine Case in "The Bargain"
The Lux Video Theatre as Miss Prynne in "Lost Sunday"
The Lux Video Theatre as Margaret Best in "Second Sight"
The Lux Video Theatre as Eliza in "The Pacing Goose"
The Mike Douglas Show as Herself on Week of May 11, 1970
The Mike Douglas Show as Herself on May 6, 1971
The Mike Douglas Show as Herself on September 10, 1970
The Mike Douglas Show as Herself on February 2, 1965
The Mike Douglas Show as Herself on April 5, 1973
The Name of the Game as Irene Comdon in "The Brass Ring"
The Pat Boone Chevy Showroom as Herself on November 28, 1957
The Rosie O'Donnell Show as Herself in Show #806
The Streets of San Francisco #1972# as Mrs. Shaninger in "Crossfire"
The Tonight Show Starring Johnny Carson as Guest in 700525
The United States Steel Hour as Madge Collins in "The Bogey Man"
The Vic Damone Show as Herself on September 24, 1956
The Virginia Graham Show as Herself on September 4, 1970
Third Watch as Florence in "Transformed"
Toast of the Town as Herself in "The Richard Rodgers Story" #Part 2#
Toast of the Town as Herself in "Tribute to Rodgers & Hammerstein w/Celeste Holm; John Raitt; Florence Henderson"
Toast of the Town as Herself in "Eartha Kitt / Celeste Holm / John Raitt / Janis Paige"
Touched by an Angel as Hattie Greene in "Vengeance is Mine" #1#
Touched by an Angel as Hattie Greene in "Promised Land"
Touched by an Angel as Hattie Greene in "The Road Home" #1#
Trapper John, M.D. as Claudia in "The Shattered Image"
Trapper John, M.D. as Lillie Townsend in "Don't Rain on My Charade"
We the People as Guest Star in "Edith Piaf/Celest Holm"
What's My Line? as Mystery Guest in episode #446
What's My Line? as Guest Panelist in episode #306
What's My Line? as Mystery Guest in episode #41
Whoopi as Diana in "The Squatter"
Wonder Woman #1979# as Dolly Tucker in "I Do, I Do"
Zane Grey Theater as Sarah Kimball in Fugitive
Categories: Broadway, Cabaret, Featured Performers, Female Vocalists, Hollywood, International . . Author: Paul Roth . Comments: 1 Comment
Jane Froman (November 10, 1907 – April 22, 1980) was an American singer and actress. During her thirty-year career, Froman performed on stage, radio and television despite chronic injuries that she sustained from a 1943 plane crash. The 1952 film, With a Song in My Heart, is based on her life.
"I'll Walk Alone"
Froman was born in University City, Missouri, the daughter of Elmer Ellsworth Froman and Anna T. Barcafer. Her childhood andadolescence was spent in the small Missouri town of Clinton. She attended Columbia College (Missouri) in the city of Columbia, which she considered her hometown. Her father left her mother when Jane was about 5 years old. She developed a stutter around this time, which plagued her all of her life, except when she sang.[1]
Although she had classical voice training, early in her career she was drawn to the songs of the era's songwriters, George and Ira Gershwin, Cole Porter, and Irving Berlin, who were inspiring a resurgence in popular music. She met vaudeville performer Don Ross when they auditioned for the same job at WLW radio station in Cincinnati. There, she joined Henry Thies' orchestra and was featured vocal on a number of Thies' Victor recordings. Convinced she was star material, Ross became her unofficial manager and persuaded her to move to Chicago where he worked for NBC radio. In 1933 Froman moved to New York City where she appeared onChesterfield's "Music that Satisfies" radio program with Bing Crosby. She married Don Ross in September 1933. She joined theZiegfeld Follies the same year where she befriended Fannie Brice. In 1934, at age 27, she became the top-polled "girl singer." The famous composer and producer, Billy Rose, when asked to name the top ten female singers, is reported to have replied, "Jane Froman and nine others."
She was severely injured by an aircraft crash on February 22, 1943, when a USO plane, a Boeing 314 named Yankee Clipper (tail number NC18603) was carrying Froman and 38 others. When Yankee Clipper was banking into a turn for approach, a wingtip caught a wave, whereupon she crashed into the Tagus River in Lisbon, Portugal. One of fifteen survivors, Froman sustained severe injuries: a cut below the left knee nearly severing her leg, multiple fractures of her right arm, and a compound fracture of her right leg that doctors threatened to amputate. Froman had given her seat to another passenger, Tamara Drasin, who was killed in the crash, an action which her biographer Ilene Stone said "bothered her her whole life."[1]
"I Only Have Eyes For You"
The co-pilot, John Curtis Burn, who broke his back in the crash, fashioned a makeshift raft from portions of the wrecked plane to help keep himself and Froman afloat. After being rescued, they were sent to the same convalescent home, where they battled their long recoveries together. After she divorced Don Ross in February 1948, Jane Froman and John Burn were married, only to be divorced eight years later (March 12, 1948 – 1956).
Froman underwent 39 operations over the years. She fought amputation and wore a leg brace the remainder of her life. However, she returned to Europe and entertained American troops in 1945. Despite having to walk with crutches, she gave 95 shows throughout Europe. During the 40s Froman became addicted to painkillers. Although she successfully underwent detoxification, she later had problems with alcohol addiction.
Froman's life story was the subject of the movie With a Song in My Heart (1952), starring Susan Hayward as Froman. Froman was deeply involved in the film's production: she supplied Hayward's singing voice and served as the film's technical advisor. The Capitol album of songs from the movie was the number one best-selling album of 1952 and remained in the catalogue for many years. DRG recently re-issued the album on a compact disc along with the 1952 revival cast album of Pal Joey, in which Froman sang the role made famous by Vivienne Segal, Vera Simpson.
A Choice CD called Jane Froman on Capitol is a collection of her Capitol Records singles and tracks from albums. From 1952-1955 Jane starred on CBS-TV. Her first program,USA Canteen, had servicemen in the audience. The program was renamed The Jane Froman Show and the format was changed to a twice weekly 15 minute program on Tuesdays and Thursdays. After the show was canceled in 1956, Froman appeared on various programs for the next few years. She also appeared on stage in Las Vegas. Froman retired to her home town of Columbia in 1961 where she married an old college friend, Rowland Hawes Smith (June 22, 1962 – April 22, 1980). She continued the volunteer work for which she was known throughout her career. In 1980, she died of cardiac arrest caused by chronic heart and lung disease in Columbia. She is buried at the Columbia Cemetery.
Categories: Big Band / Swing, Cabaret, Featured Performers, Female Vocalists, Hollywood, Jazz . . Author: Paul Roth . Comments: Leave a comment


text:
Rates & Bonds 3 MIN READ
US yields rise as investors gauge effect of China reopen on Fed
US recap: EUR/USD overcomes PMI problems en route to marginal gains October 24, 2022 BRIEF-AyalaLand Logistics Says Unit To Acquire Ready-Built Facility, Land February 7, 2022 Oil prices rise on concerns over tight supplies September 13, 2022
NEW YORK, Dec 28 (Reuters) – The yield on the benchmark US 10-year Treasury rose for a third straight day on Wednesday, reversing an earlier decline, as investors attempted to navigate the impact of China's reopening policy on the path of interest rate hikes by the US Federal Reserve.
While China has quickly reversed course on its previous "zero-COVID" policy this month, which is likely to benefit the global economy, the change has come with a surge in cases that could hamper the economy in the short-term.
The yield on 10-year Treasury notes was up 2.5 basis points to 3.883% after hitting a six-week high of 3.89%. On Tuesday, the 10-year jumped 11.1 basis points, its biggest one-day rise since Oct. 19.
"First glance was with the reopening it would end up if not being inflationary, certainly sort of arrest the decline in inflation," said Sam Stovall, chief investment strategist at CFRA in New York.
"Now with an increase in demand for materials and whatnot, that could put a support underneath prices and another reason why inflation could end up being stickier."
After hitting a near-three-month low on Dec. 7 as hopes grew the Fed would signal that an end to its rate hike cycle was on the horizon, the 10-year yield has steadily climbed. It saw its biggest weekly rise in 8-1/2 months last week on the heels of policy announcements from the US central bank, the Bank of England and the European Central Bank.
The yield on the 30-year Treasury bond was up 3.3 basis points to 3.976%.
Forecasts by the US central bank see the fed funds rates climbing above 5% next year, while Fed Chair Jay Powell and other Fed officials have emphasized there may be a need to keep rates at a higher level for longer to completely stamp out inflation.
Analysts have cautioned that it is difficult to put too much weight on market direction this week given the limited trading activity around the holidays.
An auction of USD 43 billion in five-year notes was viewed as solid by analysts, with a high yield of 3.973% and demand for the debt at 2.46 times the notes on sale was better than average.
A closely watched part of the US Treasury yield curve measuring the gap between yields on two- and 10-year Treasury notes, seen as an indicator of economic expectations, was at a negative 47.8 basis points.
The two-year US Treasury yield, which typically moves in step with interest rate expectations, was down 1.1 basis points at 4.357%.
The breakeven rate on five-year US Treasury inflation-protected securities (TIPS) was last at 2.369%, after closing at 2.368% on Tuesday.
The 10-year TIPS breakeven rate was last at 2.289%, indicating the market sees inflation averaging 2.3% a year for the next decade.
(Reporting by Chuck Mikolajczak; Editing by Chizu Nomiyama and Leslie Adler)

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Loading CSS in lightning component as static resource? I got the Salesforce Design System pilot from this morning's Webinar. I uploaded the package (as 'sds.zip') as a static resource. I'm calling the CSS (immediately after '' in the .cmp file) with:
<link href='/resource/sds/index.scss' rel="stylesheet"/>

However when I attempt to save I get the error:
Failed to save undefined: No COMPONENT named markup://use found : [markup://c:contactList]: Source

I think the 'use' error is a refrence to this code block, which is later in the .cmp file:
<svg aria-hidden="true" class="icon icon--large icon-standard-user">
    <use xlink:href="/assets/icons/standard-sprite/svg/symbols.svg#user" />
</svg>

I assume I'm importing the CSS incorrectly, what's the right way to do it?

A: You are importing the CSS correctly. That's the way to do it from inside a Lightning Component. From inside a Visualforce page you do <apex:stylesheet value="{!URLFOR($Resource.sds, '/resource/sds/index.css')}" />.
The problem is not the CSS import but VF not understanding the use and svg tags inside the component. For Visualforce to properly parse the tags you need to declare the namespace by adding the line <html xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink">, with its matching closing tag at the end. This works fine if you just put it in VF, and you are using the svg tag in VF.
However, if you are putting the svg tag inside a Lightning Component, you need to create a separate svg component for it, as described in this tutorial.

redpajama_set_name: RedPajamaStackExchange


Perform market research and segmentation through primary and secondary sources by collecting data and information on the internet, phone calls, E-mail surveys and any other means.
Constantly engage with and endorse evolving IT solutions to existing and repeating clients, follow-up, stay in touch and repeatedly push for bigger deals as a part of the engagement process.
Guide customers on service selection & product related services.
o In-depth knowledge of IT-based solutions and ability to learn about the various SaaS and PaaS model, its strength and best use case fit.
o Good communication and proposal writing skills that ensure terms are clear, concise and watertight.
o Meeting deadlines and working well under pressure to make the numbers work.
Your job role centers around pitching mid-scale solutions like those listed below to SMB of various types. For instance health care clinics, finance and lending institutions, manufacturing companies, auto leasing companies, Investment Companies etc.
Candidate must be goal oriented able to meet targets and aim for a 80% closure rate on pitched projects.


The symptoms are undeniable and the cure often elusive, but it doesn't take a PhD to diagnose a clear-cut case of the Monday blues. Not too many alarms are immune to the snooze button when manacled to the nine to five work week, but these tips may offer some respite from Monday's motivation killers and get you in the mood to own the day.
Music can be the best medicine. Studies show music releases mood-enhancing chemicals in the brain. So this tip is basically science and probably irrefutable. So set your alarm to wake up to your favourite song and put on a playlist that gets you amped for the day.
Whether you're opting for eggs and bacon over the usual fruit and granola or splurging on that fancy coffee, make Monday your day to make it count. Because everyone should get a prize for putting on pants.
Smiling, like laughter, can be contagious. If the possibility of opening a landslide of emails is a dreadful prospect, do something that makes you smile first, like read a motivational quote… or watch a cat video—whichever strikes your fancy.
Getting in an early morning workout at the gym or breaking up the day with walks is not only beneficial to your health; exercise also releases Endorphins within the body. Endorphins make people happy, and happy people have better days.
Procrastination has a habit of eventually getting around to causing stressful situations. To make the beginning of the next work week easier, take care of the things you least want to handle at the end of the previous one. Make that uncomfortable call or resolve an outstanding issue, you'll feel better knowing it's over.
Your day shouldn't be about battling through Monday to get it over with, but rather about having something to look forward to at the end. Make a plan with friends, eat your favourite dinner or catch up on TV shows you recorded—the day shouldn't revolve around simply going to the office and home again.
Wake up your motivation when you wake up Monday and every day with these tips, so you don't sleep on any great career opportunities.


text:
Thirteen Ways of Looking at Cranes
byNicole Arcilla
The poet Wallace Stevens wrote of "Thirteen Ways of Looking at a Blackbird," and Crane Trust tour guide Guy Roggenkamp can tell you at least as many ways of looking at cranes. A lifelong resident of Nebraska's Platte River Valley, Guy grew up enjoying the outdoors and spent 41 years as a teacher before he started leading crane tours 10 years ago. He uses his skills from the classroom to help draw people out, creating a sense of community for the groups he leads to watch migrating cranes stop over on the river. One evening, Guy recounts, a member of his group asked how birds' vision differs from ours. Another group member happened to be an optical engineer, who explained that while human eyes have three types of color vision receptors (cones) – red, green, and blue – birds have four: red, green, blue, and ultraviolet. This means that birds can see better, and more colors, than we can, including into the ultraviolet range.
This teaching moment is just one example of what happens when people come together out of love for cranes and nature, Guy observes. On another occasion, Guy got into a discussion about the significance of cranes in Chinese culture with a group of visitors from China, where cranes are associated with longevity and even immortality. Like Whooping Cranes, Asia's Red-crowned Cranes recently faced extinction but have recently rebounded due to intensive conservation efforts, though they remain endangered species.
In his 10 years of watching cranes, Guy has also spent time with notable scientists like Paul Johnsgard, from whom he learned about a crane behavior called "crunching." They observed this when a Bald Eagle flew over a group of cranes who stretched their heads up in unison, their spear-like bills all pointed at the predator overhead with an unmistakable message: keep out! Eagle attacks on cranes are seldom seen, and from the eagle's perspective, fish and other smaller animals likely make far more attractive prey than an enormous bird with a spear on its head! However, young eagles, in particular, do sometimes attack and kill cranes, as recently documented by Crane Trust scientists and partners.
What are some other ways of looking at cranes? One of Guy's favorites is under a full moon so bright that you can see the cranes' shadows on the prairie as they are flying overhead. He has led groups to see cranes in blizzards with blinding snow and lightning storms, and notes with wonder how the cranes seem to have their own barometers, coming and going around the storms. Sometimes the Sandhill Cranes are joined by Whooping Cranes, and sometimes what at a distance appears to be a Whooping Crane turns out to be a Sandhill Crane with leucism, a rare but natural and harmless pigment loss condition that causes the otherwise grey cranes to turn white.
"I don't know a stranger," Guy admits with a smile, and his friendliness is contagious. On one of Guy's tours, a woman brought a night vision scope that allowed the group to see the cranes' movements on the river in the dark. On another tour, a visually-impaired man brought a special high-powered telescope that allowed him to view the cranes and described his unique perspective to the group. Even in the darkest conditions, we can hear the cranes' wings as they fly overhead and their calls of greeting as they come down to land together on the river. In the end, there are countless ways of looking at cranes, and every moment we spend with them is a journey of the senses.


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Exoprosopa bowdeni är en tvåvingeart som beskrevs av Sanchez-terron 1989. Exoprosopa bowdeni ingår i släktet Exoprosopa och familjen svävflugor. Inga underarter finns listade i Catalogue of Life.

Källor

Svävflugor
bowdeni

redpajama_set_name: RedPajamaWikipedia


My heart is ushered into transparent beauty and awe when I look into their eyes and touch their hands, truly listening to the voice within each one which speaks volumes of mercy, divinity and pain.
For the first time in my life, I don't struggle here. I don't feel as though I am compromising that which I feel God has asked me to do and be. I feel as though I am free to look forward with hope and excitement. These men, women, and children are my family. Greeted each morning as their sister, they have become my brothers and sisters. It would be faulty of me to not speak of the hardships which occur here on a daily basis. But for some reason, they don't hold as much weight here as I have experienced in the past. What matters here is that synergistic pulse... the pulse which speaks love, acceptance, and truth of heaven on earth.
Thank you for being willing to come alongside us and experience this pulse of life with us... we are so grateful.
Thanks for being you, Jessica, a loving servant of Christ!
Thank you Jake and Jessica! Your thoughts and pictures are encouraging many of us. We have shared your site with many and almost someone new each day.


Parents shaming their own children on social media is a disturbing trend. Guest columnist Robbyn Peters Bennett urges people not to tolerate or cheer this phenomenon.
THERE is an alarming trend of parents publicly shaming their children on social media. This virtual form of public stocks has now contributed to a young girl's suicide right here in Tacoma.
It made me chuckle at the time, reminding me of snapchats from my daughter of my grandson's escapades. I love these 10-second images of her catching him in the dishwasher or stuffing as many toys as possible into the toilet. These are sweet moments where my daughter and I can laugh and she can vent over the relentless madness of toddlers.
Sharing these stories makes parenting tolerable. So I understand why parents might want to post these pictures. But sadly, some posts get passed around beyond the safety net of families who adore these children. Sites have cropped up with countless pictures of children in distress with dismissive comments. The problem is, these aren't snapchats. They don't disappear in 10 seconds.
Parents are losing it. They are recording themselves shooting their child's computer, hitting their children, cutting their hair in humiliating Benjamin Button styles, forcing them to hold signs with forced confessions and labels of self hatred. Many of these posts have gone viral with the Internet community cheering on like a vicious mob. Pages of applause and vile hatred toward children follow these posts. Cultural hatred of children is vomited up uncensored in a way we only see in the anonymous world of social media.
It is one thing to commiserate with the frustrations of parenting, it is another to promote a parent's worse fear, "Yes, your child deserves to be humiliated." Never trust a mob with someone you love, especially your child. Consider what happens to a child who watches their picture float around the Internet with an ovation of applause for their parents' cruelty. Look at the blank, zoned-out expression on their faces. I see pain, humiliation and hatred. Even more disturbing, sometimes I see nothing. The child has drifted away. Shame is an enduring experience that can last a lifetime. It plants the seed, "Who I am is bad." For some, like the young girl whose father forcefully cut off her hair, the shame was so unbearable that suicide felt like her only option. Suicide — the ultimate act of shame.
Even if we survive it, we still may carry shame into adulthood — especially into parenthood. Now I not only worry that I am not good enough, I worry that my children are not either. I fear they are bad when they tantrum or lie or disobey. Shame drives so many of us. It poisons our connection to our children driving them further away from us into the world without our guidance or protection.
As onlookers, we need to step forward to protect children from being hurt in our online communities. That is why my friends and I started a campaign to persuade Facebook to amend their user agreement, which prohibits harassment and bullying, to include one's own children. We want to encourage parents to find better ways to teach their children, ways that are proven to work. We know shame doesn't. Please StopShamingKids.com.
Robbyn Peters Bennett is child mental-health specialist who works with at-risk children who have suffered from early abuse and neglect. She lectures nationally on the topic of trauma and the effects of harsh punishment.


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Serracutisoma est un genre d'opilions laniatores de la famille des Gonyleptidae.

Distribution
Les espèces de ce genre sont endémiques du Brésil. Elles se rencontrent dans les États de São Paulo, du Paraná et de Santa Catarina.

Liste des espèces
Selon World Catalogue of Opiliones (20/08/2021) :
 Serracutisoma banhadoae (Soares & Soares, 1947)
 Serracutisoma catarina (Machado, Pinto-da-Rocha & Giaretta, 2001)
 Serracutisoma fritzmuelleri DaSilva & Gnaspini, 2010
 Serracutisoma gnaspinii DaSilva, 2014
 Serracutisoma guaricana DaSilva & Gnaspini, 2010
 Serracutisoma inerme (Mello-Leitão, 1927)
 Serracutisoma molle (Mello-Leitão, 1933)
 Serracutisoma proximum (Mello-Leitão, 1922)
 Serracutisoma pseudovarium DaSilva & Gnaspini, 2010
 Serracutisoma spelaeum (Mello-Leitão, 1933)
 Serracutisoma thalassinum (Simon, 1879)

Publication originale
 Roewer, 1930 : « Weitere Weberknechte IV. (4. Ergänzung der Weberknechte der Erde, 1923). » Abhandlungen der Naturwissenschaftlichen Verein zu Bremen, , .

Liens externes

Notes et références

Gonyleptidae
Genre d'opilions (nom scientifique)
Faune endémique du Brésil


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North Carolina, 2018: Morgan Christopher's life has been derailed. Taking the fall for a crime she did not commit, she finds herself serving a three-year stint in the North Carolina Women's Correctional Center. Her dream of a career in art is put on hold – until a mysterious visitor makes her an offer that will see her released immediately. Her assignment: restore an old post office mural in a sleepy southern town. Morgan knows nothing about art restoration, but desperate to leave prison, she accepts. What she finds under the layers of grime is a painting that tells the story of madness, violence, and a conspiracy of small town secrets.
North Carolina, 1940: Anna Dale, an artist from New Jersey, wins a national contest to paint a mural for the post office in Edenton, North Carolina. Alone in the world and desperate for work, she accepts. But what she doesn't expect is to find herself immersed in a town where prejudices run deep, where people are hiding secrets behind closed doors, and where the price of being different might just end in murder.
What happened to Anna Dale? Are the clues hidden in the decrepit mural? Can Morgan overcome her own demons to discover what exists beneath the layers of lies?
Big Lies in a Small Town by Diane Chamberlain tracks two white artists living in a small town in North Carolina, 78 years apart. The storyline pivots around a mural that was commissioned for the small town, but was mysteriously never installed.
In 1940, 22-year-old artist Anna Dale wins an art contest and is chosen to paint a mural for the Edenton post office. She travels from New Jersey and lives in the town while completing the work.
In 2018, 22-year-old artist Morgan Christopher is serving time in prison for a DUI that resulted in a car accident. She's offered parole if she moves to Edenton to restore the mural that Anna Dale abandoned decades earlier. A mysterious African American artist called Jesse Jameson Williams —who Morgan has never met and has no connection to — recently died and outlined strictly in his will that Morgan be the artist to restore the work.
"Anna arrived in Edenton for her planned three-day visit late on the afternoon of December 4. She could have taken the overnight train, but at the last minute she decided to drive. The '32 navy blue Ford V8 still held her mother's scent — the spicy patchouli fragrance of the Tabu perfume she'd loved — and Anna needed that comfort as she set out on this new, very adult venture."
Strong themes present in the book are addiction and illness — Morgan is estranged from her parents, who are dysfunctional, judgemental alcoholics, and Anna's mother just recently committed suicide after years of manic illnesses.
Racism is thinly explored in the book as well. Jesse Jameson Williams meets Anna Dale when he's a teenager, and begins helping her paint the mural. Soon, people in Edenton assume the two are engaged in a relationship, which would've been illegal at that time. Someone paints racial slurs on the wall of Anna's workshop space, and people threaten to harm Anna because of her connection to Jesse. Admittedly, the racism seems a little too light for what it would've actually been like at that time.
The artistry is incredibly evocative in the book. Both Anna and Morgan are talented and enthusiastic about their work and it's evident how much artistic research has gone into the writing of this book. Everything about the mural, the town and its inhabitants is richly detailed and captured clearly.
"They talked about the people they knew who might be willing to model for the mural. Muss Myrtle thought the mayor's wife was a good choice, but the idea made Anna cringe as she remembered Pauline's comments about Mayor Sykes' treatment of his wife. She felt as if she knew far more than she should about the poor woman and her life."
The book is enjoyable and will have readers turning the pages, but it's not flawless. The turning point in Anna Dale's story (and what results from it) is predictable and expected, as is Morgan's discovered connection to Jesse and Anna in the final chapter of the book.
Additionally, Jesse's will stipulated that his daughter Lisa wouldn't inherit her childhood home if Morgan missed her mural restoration deadline. This stipulation…doesn't fit the rest of Jesse's characterisation and is never really explained in the book. It felt like a lazy plot point.
An engaging read recommended for fans of women's fiction and historical fiction.
Leave a Comment · Labels: 7/10, Adult Fiction, Book Reviews Tagged: adult fiction, book review, fiction, historical fiction, review
A Madness of Sunshine by Nalini Singh
Welcome to Golden Cove, a remote town on the edge of the world where even the blinding brightness of the sun can't mask the darkness that lies deep within a killer…
On the rugged West Coast of New Zealand, Golden Cove is more than just a town where people live. The adults are more than neighbours; the children, more than schoolmates.
That is until one fateful summer – and several vanished bodies – shatters the trust holding Golden Cove together. All that's left are whispers behind closed doors, broken friendships, and a silent agreement not to look back. But they can't run from the past forever.
Eight years later, a beautiful young woman disappears without a trace, and the residents of Golden Cove wonder if their home shelters something far more dangerous than an unforgiving landscape.
It's not long before the dark past collides with the haunting present and deadly secrets come to light.
A Madness of Sunshine by Nalini Singh is a small town crime thriller novel, following the disappearance of local teenager Miriama Hinewai Tutaia in Golden Cove New Zealand, and its potential connection to the disappearance of three backpackers eight years earlier.
The main characters are police officer Will Gallagher, in charge of trying to find Miriama, and Anahera Spencer-Ashby, a young woman who grew up in Golden Cove and has recently returned after living in London for many years as a highly successful pianist and performer.
Will and Anahera are both complex and conflicted characters — Will was exiled to Golden Cove after a previous case went in an unexpected direction, and Anahera runs home to Golden Cove after her husband dies and his pregnant mistress turns up on her doorstep.
"But there were other possibilities and he'd be a bad cop if he ignored them. No one had ever called him that, not even when his mistakes had led to two deaths. Will's police work had been stellar; it was his understanding of human nature that had let him down."
Will and Anahera are both incredibly interesting and thoroughly developed characters. Both of them share wounded histories and are psychologically damaged from past events in their lives. Whilst they don't know each other prior to Anahera returning to Golden Cove, the two bond over their circumstances and find comfort in each other's company.
There is definitely this sense of isolation that comes with being in Golden Cove, like you're all alone and nothing you do will penetrate the outside world. Anahera was able to leave because she's musically gifted, but most people stay (as Anahera learns when she returns home). Many juicy secrets are harboured in Golden Cove. As a result, tension and suspense are heightened and the setting itself feels like another character.
"Another fifty meters and the sand disappeared under a flow of water that turned into a whirlpool surrounded by rocks as black as obsidian and as jagged as broken glass. Everyone knew to keep their distance from the spot — there was simply no hope for anyone who fell into that water."
The pacing is slow but consistent, successfully building suspense and intrigue. There is more than one mystery plaguing this small town and everyone is a suspect. Will can determine multiple motives for wanting young, beautiful local Miriama missing — she held many secrets, and was fancied by just as many admirers.
Setting and environment are big strengths in this novel, and Nalini has captured the small, isolated town of Golden Cove incredibly well. The 'small town' vibe is rich with secrets and hidden pasts, and it will draw every reader in and keep them enticed until the final pages.
There's a small romantic storyline that develops in the book, which is both welcome and expected with this genre. However, it's not a dominant part of the book and if it were removed, the events in the novel would mostly remain unchanged.
"Two hours later, he'd gone through every single one of the names and ID photos and come up with nothing. If Fidel Cox had returned to the area, he'd done so in a way that wouldn't be noticed."
Admittedly, I wasn't a fan of the ending. There were two major revelations at the climax of the book — one made sense and the other did not. The truth behind Miriama's disappearance was not consistent with the characterisation set up prior and it seemed like a cheap ploy to surprise the reader. To be honest I felt a bit cheated at the end.
Enthralling, inviting and entertaining. Recommended for fans of crime, thrillers, and mystery novels.
A Madness of Sunshine
Hachette Publishers
Leave a Comment · Labels: 8/10, Adult Fiction, Book Reviews, Thriller Tagged: adult fiction, book review, crime, fiction, fiction review, mystery, review, thriller
The Clergyman's Wife by Molly Greeley
In this Pride and Prejudice-inspired novel, not everyone has the luxury of waiting for love. Charlotte Collins knows this well . . .
Charlotte Collins, nee Lucas, is the respectable wife of Hunsford's vicar, and sees to her duties by rote: keeping house, caring for their adorable daughter, visiting parishioners and patiently tolerating the lectures of her awkward husband and his condescending patroness, Lady Catherine de Bourgh.
Intelligent, pragmatic and anxious to escape the shame of spinsterhood, Charlotte chose this life: an inevitable one so socially acceptable that its quietness threatens to overwhelm her. Then she makes the acquaintance of Mr Travis, a local farmer and tenant of Lady Catherine.
In Mr Travis' company, Charlotte feels appreciated, heard and seen. For the first time in her life Charlotte begins to understand emotional intimacy and its effect on the heart-and how breakable that heart can be. With her sensible nature confronted and her own future about to take a turn, Charlotte must now question the role of love and passion in a woman's life, and whether they truly matter for a clergyman's wife.
The Clergyman's Wife by Molly Greeley is a debut fiction novel and retelling of Pride and Prejudice, shining the spotlight on Charlotte Lucas and what her life becomes after she chooses to marry Elizabeth's cousin, Mr. Collins.
Though this work is entirely fictional, there are so many elements that ring true to the original work — the characters, relationships, atmosphere and setting. In Pride and Prejudice, Charlotte married Mr Collins not because she was in love with him (she hardly knew him) but because of security. She was almost thirty and had no other options for a companion. By marrying Mr Collins, she would stop being an embarrassment to her parents and could start her own life.
In The Clergyman's Wife, Molly takes Charlotte beyond the pages of Pride and Prejudice and gives her a protagonist's story. What if she does have the option of falling in love with someone but it's too late?
"My skin prickles with mirth; I press my lips together to keep myself from laughing. Mr Travis meets my eyes and his lips tip up, just a little, at the corners; then he ducks his head and appears to focus entirely on the roses once more. I find myself gazing at the sun-browned back of his neck, the first knob of his spine just visible above his shirt collar, and have to force myself to look away."
Charlotte Lucas is an incredibly intelligent character, but her life with Mr. Collins is — as readers expected — uninspiring and rather boring. Charlotte doesn't have the sharp tongue or the brashness that her friend Elizabeth has, and she settles for what is comfortable. However, given that this book is set in the early nineteenth century, it's entirely credible. She can't afford to wait for true love.
When Charlotte meets Mr. Travis, she feels an instant connection. The two are alike in personality and Charlotte finds herself drawn to him. She starts to understand what emotional intimacy is and what it's like to have someone else truly care about what you want in life. Mr Travis is kind and considerate and treats her with more respect that Mr Collins does. Charlotte finds herself wanting intimacy with Mr Travis, which is something she's never experienced with her husband.
But, building a life with Mr Travis is something that no one in that time period would approve of. Charlotte struggles with what her head and her heart are telling her.
"When we reach the lane, I have to force myself to keep walking. Though there is no true impropriety, I suddenly feel that I cannot face William — or worse, Lady Catherine — seeing us walking together. But we reach the parsonage gate unobserved."
Whilst the book is a little dry at times, the prose and dialogue are lyrical, poetic and true to the time period. The vocabulary and language is evocative and in tune with Pride and Prejudice, and so it's not a stretch to think of The Clergyman's Wife as a companion novel.
Recommended for fans of Pride and Prejudice, and other Jane Austen novels. Fans of romance and historical romance will also love this.
The Clergyman's Wife
Molly Greeley
Allen and Unwin Book Publishers
Leave a Comment · Labels: 8/10, Adult Fiction, Book Reviews Tagged: book review, fiction, historical fiction, review, romance


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Megan Thee Stallion Talks Flamin' Hot Super Bowl Commercial, Manifesting EP With Jazmine Sullivan
RapMusicBuzz2022-02-03T19:35:42+00:00February 3rd, 2022|
Don't ever tell Megan Thee Stallion that you've never had Flamin' Hot Cheetos, because if you do, chances are she'll question your entire childhood. During a Billboard interview about her upcoming Super Bowl commercial with Charlie Puth for the iconic Frito-Lay snack brand, a bemused Megan scrunched her face in disappointment after learning that her interviewer had never had Flamin' Hot Cheetos before.
"I don't believe that. What little kid on the planet earth never had a Hot Cheeto?" she quipped. "You don't know what you're missing. How do you skip over the most lit bag for Cheetos? It's the most decorative Cheeto bag too. You need to get some Hot Cheetos. You definitely slipping."
The Flamin' Hot commercial combines two of Megan's loves: her affinity for the spicy, savory chips and her adoration for renowned hip-hop duo Salt-N-Pepa. Acting the role of a red hummingbird, she incessantly hums the 1988 classic hit "Push It," while Charlie Puth hangs in the background as a sly fox with surprisingly tight beatbox skills.
"I am The Hot Girl Coach," said Megan about why she teamed up with Flamin' Hot. "I am Miss Flamin' Hottie. I mean, I am all things hot. So I feel like it was very necessary for the Hot Cheeto and the Hot Girl to get together." Set to air during the big game on Feb. 13, Megan's boisterous fanbase will get to see her in action in the Super Bowl commercial and can expect more acting from the Houston polymath thanks to a production deal she signed with Netflix in December.
Billboard spoke with Megan about paying homage to Salt-N-Pepa, what a joint project with Jazmine Sullivan would sound like, and the power of manifestation.
In the commercial, you play the role of a hummingbird rapping Salt-N-Pepa's "Push It." If you can switch places and be any animal in the world for a day, who would you choose and why?
If I could switch places with any animal, it would be my puppy Foe because he's so famous and so loved. When I have Foe with me, people don't even run up to me, they be like, 'Oh my God. Foe!" He gets all the hugs and kisses and people just feed him all kinds of stuff. If I can be any animal, it would definitely be my dog.
What's his Instagram count at right now?
Foe is famous. I don't even know. Does Fo have four million followers yet? — Almost [laughs]. My friends be like, 'Damn. Foe got more followers than me' and I be like, 'Well, he is the Hot Dog. He is him.'
As I mentioned, in the commercial, you're humming "Push It" and I thought it was pretty cool how they honored you for Glamour's Women of the Year honor last year. Talk about that full-circle moment and the love you have for the group.
First of all, when you're talking about female rap, you have to include Salt-N-Pepa in that conversation. They are Salt-N-Pepa. They are the pioneers. When they asked me who would I like to honor me at the Woman of the Year event, I definitely was like, 'What are my options?' I said, 'Can we get Pepa to come up here and do this? Like will she come?' She came and did it. We met and our energy is so the same. I love her. When Cheetos was like, 'Ok, Megan. This the song we're doing,' I was like, 'Oh, when she sees this, she's just gonna know I love her!'
Congrats on finishing school last year. What does it mean for you to be an HBCU college graduate?
I feel very accomplished. I really feel like I did something that was very prestigious. I feel like I'm making all of the women in my family proud. All the women in my family went to HBCUs. I'm just going down the legacy of doing the same thing of fully college educated women. I definitely just had to keep making them proud and I had to make myself proud. I had to prove to myself that I can finish it and I did even in the middle of my chaotic life. I just also wanted to show the Hotties that you can do whatever you put your mind to. So I'm super proud to have graduated from an HBCU.
Публикация от Megan Thee Stallion (@theestallion)
You said after you graduated that the goal for you was to build health care facilities and create jobs. Is that still a goal of yours?
That's definitely still on the table. Whatever I say I'm gonna do, I definitely always do it. That's not an easy process, but that's definitely in the works though.
You also struck a deal with Netflix last year. Talk about how that came about and what you have in store for your fans.
I'm definitely going to be in my acting bag and I'm definitely going to be in my directing bag. [I] can't give away too much because you already know as soon as y'all know about something, it's already been in the works for a minute. I'm super excited, but I don't wanna give away any surprises though.
An old tweet of yours about the importance of having a team appeared on billboards across the nation and went viral. Looking back, what does the value of having a team mean to you now?
I mean, I just knew I couldn't make everything happen on my own. Nothing that works is one person doing everything. So when I finally started building the right team around me and having the right team around me, I definitely feel like my career just propelled and went super high. I'm so appreciative to everybody on my team. Shout-out to all of y'all, but you definitely can't just do everything by yourself. So me having that team helped me take off.
On the music end, if you can pick anybody from the R&B side to do a Best of Both Worlds project with, who would you choose and why? I know Jazmine Sullivan said she was ready to work with you.
A whole project [laughs]? Ok, me and Jazmine Sullivan would definitely have some stuff to talk about. We'll have the girls crying, we'll have the girls screaming, we'll have the girls dancing, we'll have the girls sipping wine, [and] sitting in the backyard sipping cognac, but no [laughs]. The men better go run and hide if me and Jazmine Sullivan do an EP, so that's actually a really good idea. We need to get that in the works.
Публикация от Kevin Liles (@kevinlileskwl)
I know you manifested that Beyoncé feature and it happened. What else are you manifesting for yourself career-wise in 2022?
Everyday I think of something new that I wanna do and I start to try to leave the breadcrumbs of how I'm gonna do it, but right now, I'm definitely manifesting that I will get these buildings together to open up my assisted-living facilities. I already manifested my Netflix deal, so you will see the results of my manifestations from that.
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Whole wheat idlis aid easy weight loss, are digestible and good for diabetics. Rice can increase the blood sugar levels so, diabetics can have whole wheat idlis. This is how idlis help in weight loss and also benefits your health.
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