Spotlight 2

15:17

This Spotlight is Veronica Lake



Veronica Lake (born Constance Frances Marie Ockelman; November 14, 1922– July 7, 1973) was an American film, stage, and television actress. Lake won both popular and critical acclaim, most notably for her role in Sullivan's Travels and for her femme fatale roles in film noirs with Alan Ladd, during the 1940s.

She was also well known for her peek-a-boo hairstyle. Lake's career had begun to decline by the late 1940s, in part due to her 
alcoholism. She made only one film in the 1950s but appeared in several guest-starring roles on television. She returned to the screen in 1966 with a role in the film Footsteps In the Snow, but the role failed to revitalize her career.





Lake released her memoirs, Veronica: The Autobiography of Veronica Lake, in 1970. She used the money she made from the book to finance a low-budget horror film Flesh Feast. It was her final onscreen role. Lake died in July 1973 from hepatitis and acute kidney injury at the age of 50.


Lake was born Constance Frances Marie Ockelman in the New York City borough of Brooklyn. Her father, Harry Eugene Ockelman, was of German and Irish descent and worked for an oil company aboard a ship.
He died in an industrial explosion in 
Philadelphia in 1932. Lake's mother, Constance Frances Charlotta (née Trimble; 1902–1992), of Irish descent, married Anthony Keane, a newspaper staff artist, also of Irish descent, in 1933, and Lake began using his surname.
The Keanes lived in Saranac Lake, New York, where young Lake attended St. Bernard's School for a time, then was sent to Villa Maria, an all-girls Catholic boarding school in Montreal, Canada, from which she was expelled.
Lake later claimed she attended McGill University and did a premed course for a year, intending to become a surgeon. But when her father fell ill during her second year, the Keane family later moved to 
Miami, Florida.
Lake attended Miami High School, where she was known for her beauty. She had a troubled childhood and was diagnosed with schizophrenia, according to her mother.


In 1938, the Keanes moved to Beverly Hills, where Lake enrolled in the Bliss-Hayden School of Acting (now the Beverly Hills Playhouse). She made friends with a girl called Gwen Horn and accompanied her when Horn went to audition at RKO.

She was briefly contracted to MGM and studied at that studio's acting farm, the Bliss Hayden theater.
She appeared in the play Thought for Food in January 1939.
In She Made Her Bed, the theater critic for the Los Angeles Times called her "a fetching little trick".
She also appeared as an extra in a number of movies. Keane's first appearance on screen was for RKO, playing a small role among several coeds in the film Sorority House (1939).

The part wound up being cut out of the film but she was encouraged to continue. Similar roles followed, including All Women Have SecretsYoung as Your FeelForty Little Mothers and Dancing Co-EdForty Little Mothers was the first time she let her hair down on screen.


It was during the filming of I Wanted Wings that Lake developed her signature look.
Lake's long blonde hair accidentally fell over her right eye during a take and created a "peek-a-boo" effect. "I was playing a sympathetic drunk, I had my arm on a table... it slipped... and my hair- it was always baby fine and had this natural break- fell over my face... It became my trademark and purely by accident", she recalled.
I Wanted Wings was a big hit, The hairstyle became Lake's trademark and was widely copied by women.
Even before the film came out, Lake was dubbed "the find of 1941". However, Lake did not think this meant she would have a long career and maintained her goal was to be a surgeon. "Only the older actors keep on a long time ... I don't want to hang on after I've reached a peak. I'll go back to medical school", she said.
Paramount announced two follow-up movies, China Pass and Blonde Venus.
Instead, Lake was cast in Sullivan's Travels for Preston Sturges with Joel McCrea. She had been six months pregnant when filming began.


During World War II, Lake changed her trademark peek-a-boo hairstyle at the urging of the government to encourage women working in war industry factories to adopt more practical, safer hairstyles. Although the change helped to decrease accidents involving women getting their hair caught in machinery, doing so may have damaged Lake's career.She also became a popular pin-up girl for soldiers during World War II and traveled throughout the United States to raise money for war bonds.




Although popular with the public, Lake had a complex personality and acquired a reputation for being difficult to work with. Eddie Bracken, her co-star in Star Spangled Rhythm (in which Lake appeared in a musical number) was quoted as saying, "She was known as 'The Bitch' and she deserved the title."

Joel McCrea, her co-star in Sullivan's Travels, reportedly turned down the co-starring role in I Married a Witch, saying, "Life's too short for two films with Veronica Lake." (However, Lake and McCrea did make another film together, the 1947 production Ramrod.) During the filming of The Blue Dahlia (1946), screenwriter Raymond Chandler referred to her as "Moronica Lake".


















Lake went over to 20th Century Fox to make Slattery's Hurricane (1949), directed by DeToth. It was only a support role and there were not many other offers. In 1950 it was announced she and DeToth would make Before I Wake (from a suspense novel by Mel Devrett) and Flanagan Boy.
Neither was made.
In 1951 she appeared in Stronghold, which she later described as "a dog". (She later sued for unpaid wages on the film.) Lake and DeToth filed for bankruptcy that same year.
The IRS later seized their home for unpaid taxes.On the verge of a nervous breakdown and bankrupt, Lake ran away, left DeToth, and flew alone to New York.





Lake's first marriage was to art director John S. Detlie, in 1940. They had a daughter, Elaine (born in 1941),and a son, Anthony (born July 8, 1943).

According to news from the time, Lake's son was born prematurely after she tripped on a lighting cable while filming a movie. Anthony died on July 15, 1943. Lake and Detlie separated in August 1943 and divorced in December 1943.

 In 1944, Lake married film director Andre DeToth with whom she had a son, Andre Anthony Michael III (known as Michael DeToth), and a daughter, Diana (born October 1948). Days before Diana's birth, Lake's mother sued her for support payments. Lake and DeToth divorced in 1952.
In September 1955, she married songwriter Joseph, Allan McCarthy.
They were divorced in 1959. Lake's fourth and final marriage was to Royal Navy captain Robert Carleton-Munro in June 1972. They divorced after one year. In 1969 she revealed that she rarely saw her children.



In June 1973, Lake returned to the United States and while traveling in Vermont, visited a local doctor, complaining of stomach pains. She was discovered to have cirrhosis of the liver as a result of her years of drinking, and on June 26, she checked into the University of Vermont Medical Center in Burlington.
She died there on July 7, 1973, of acute hepatitis and acute kidney injury. Her son Michael claimed her body. Lake's memorial service was held at the Universal Chapel in New York City on July 11.
She was cremated and, according to her wishes, her ashes were scattered off the coast of the Virgin Islands. In 2004, some of Lake's ashes were reportedly found in a New York antique store.



Till Next Time Everyone Hope You Enjoyed.

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Televison Tuesday #1

00:00

This Weeks Television Tuesday is

The Brady Bunch




The Brady Bunch is an American sitcom created by Sherwood Schwartz that aired from September 26, 1969, to March 8, 1974, on ABC.

The series revolves around a large 
blended family with six children. Considered one of the last of the old-style family sitcoms, the series aired for five seasons and, after its cancellation in 1974, went into syndication in September 1975.

 While the series was never a critical or rating success during its original run, it has since become a popular staple in syndication, especially among children and teenaged viewers.

The Brady Bunch's success in syndication led to several television reunion films and spin-off series: The Brady Bunch Hour (1976–77), The Brady Girls Get Married (1981), The Brady Brides (1981), A Very Brady Christmas (1988), and The Bradys (1990).


In 1966, following the success of his TV series Gilligan's Island, Sherwood Schwartz conceived the idea for The Brady Bunch after reading in The Los Angeles Times that "30% of marriages [in the United States] have a child or children from a previous marriage.

" He set to work on a 
pilot script for a series tentatively titled Mine and Yours." Schwartz then developed the script to include three children for each parent.

While Mike Brady is depicted as being a widower, Schwartz originally wanted the character of Carol Brady to have been a divorcée, but the network objected to this. A compromise was reached whereby Carol's marital status (whether she was divorced or widowed) was never directly revealed.






After receiving a commitment for 13 weeks of television shows from ABC in 1968, Schwartz hired film and television director John Rich to direct the pilot, cast the six children from 264 interviews during that summer, and hired the actors to play the mother role (whose maiden name was Tyler and first married name was Martin), the father role, and the housekeeper role.

 As the sets were built on Paramount Television stage 5, adjacent to the stage where H.R. Pufnstuf was filmed by Sid and Marty Krofft, who later produced The Brady Bunch Hour, the production crew prepared the back yard of a home in Sherman Oaks, Los Angeles, as the Tyler home's exterior location to shoot the chaotic backyard wedding scene. Filming of the pilot began on Friday, October 4, 1968, and lasted eight days.




Mike Brady (Robert Reed), a widowed architect with three sons, Greg (Barry Williams), Peter (Christopher Knight), and Bobby (Mike Lookinland), marries Carol Martin (Florence Henderson), who herself has three daughters: Marcia (Maureen McCormick), Jan (Eve Plumb), and Cindy (Susan Olsen).

The wife and daughters take the Brady surname. Included in the blended family are Mike's live-in housekeeper, Alice Nelson (Ann B. Davis), and the boys' dog, Tiger. The setting is a large, suburban, two-story house designed by Mike, in a Los Angeles suburb.
In the first season, awkward adjustments, accommodations, gender rivalries, and resentments inherent in blended families dominate the stories.

 In an early episode, Carol tells Bobby that the only "steps" in their household lead to the second floor (in other words, that the family contains no "stepchildren", only "children"). Thereafter, the episodes focus on typical preteen and teenaged adjustments such as sibling rivalry, puppy love, self-image, character building, and responsibility.




The house used in exterior shots, which bears little relation to the interior layout of the Bradys' home, is located in Studio City, within the city limits of Los Angeles. According to a 1994 article in the Los Angeles Times, the San Fernando Valley house was built in 1959 and selected as the Brady residence because series creator Schwartz felt it looked like a home where an architect would live.

A false window was attached to the front's 
A-frame section to give the illusion that it had two full stories.
Contemporary establishing shots of the house were filmed with the owner's permission for the 1990 TV series The Bradys. The owner refused to allow Paramount to restore the property to its 1969 look for The Brady Bunch Movie in 1995, so a facade resembling the original home was built around an existing house.


Since its first airing in syndication in September 1975, an episode of the show has been broadcast somewhere in the United States and abroad every day of the year.
 Episodes were also shown on ABC daytime from July 9, 1973, to April 18, 1975, and from June 30-August 29, 1975, at 11:30 a.m. EST/10:30 CST.
The show was aired on TBS starting in the 1980s until 1997, Nick at Nite in 1995 (for a special event), and again from 1998 to 2003 (and briefly during the spring of 2012), TeenNick  from March to April 2004, on TV Land on and off from 2002 to 2015, Nick Jr. (as part of the NickMom block from 2012 to 2013), and Hallmark Channel from January to June 2013 and again starting September 5, 2016, until September 30, 2016.
Episodes in the syndicated version have been edited for time to allow for commercial breaks, down from the original version of 25–26 minutes.

This show you can't help but love if your an old tv show lover


all the rights go to the rightful owners

till next time





Movie Monday #1

00:00

This first movie Monday Is

How to marry a millionaire 

How to Marry a Millionaire is a 1953 American romantic comedy film directed by Jean Negulesco and written and produced by Nunnally Johnson. The screenplay was based on the plays The Greeks Had a Word for It by Zoë Akins and Loco by Dale Eunson and Katherine Albert.



The film stars Betty Grable, Marilyn Monroe, and Lauren Bacall as three gold diggers, along with William Powell, David Wayne, Rory Calhoun, and Cameron Mitchell. Betty Grable received top billing in the screen credits but Marilyn Monroe’s name was first in all advertising, including the trailer.
Made by 20th Century Fox, How to Marry a Millionaire was the first film ever to be photographed in the new CinemaScope wide-screen process, although it was the second Cinemascope film released by Fox after the biblical epic film The Robe (also 1953).






How to Marry a Millionaire was also the first 1950s color and CinemaScope film ever to be shown on prime time network television (though panned-and-scanned) when it was presented as the first film on NBC Saturday Night at the Movies on September 23, 1961.
The soundtrack from How to Marry a Millionaire was released on CD by Film Score Monthly on March 15, 2001.
Resourceful Schatze Page (Lauren Bacall), spunky Loco Dempsey (Betty Grable), and ditsy Pola Debevoise (Marilyn Monroe) rent a luxurious Sutton Place penthouse in New York City from Freddie Denmark (David Wayne), who is avoiding the IRS by living in Europe.

The women plan to use the apartment to attract rich men and marry them. When money is tight, Schatze pawns some of Freddie's furniture, without his knowledge. To their dismay, as winter approaches, the furnishings continue to be sold off as they have no luck.






How to Marry a Millionaire was the first film ever to be photographed in the new CinemaScope wide-screen process, but it was the second Cinemascope film released by Fox, after the biblical epic film The Robe.
Twentieth-Century Fox started production on The Robe before it began production on How to Marry a Millionaire, although production on the latter was completed first.

The studio chose to present The Robe as its first CinemaScope production in late September or early October 1953 because it saw this film as being more family-friendly and attracting a larger audience to introduce its widescreen process.

The film's cinematography was by Joseph MacDonald. The costume design was by Travilla.


Between scenes, the cinematography has some iconic views of New York City. Views include Rockefeller Center; Central Park; the United Nations Building; and Brooklyn Bridge in the opening sequence.

Other iconic views include the Empire State Building, the lights of Times Square at night and the George Washington Bridge.
In 1957, the film was adapted into a sitcom of the same name. The series stars Barbara Eden (as Loco Jones), Merry Anders (Michelle "Mike" Page), Lori Nelson (Greta Lindquist) and as Nelson's later replacement, Lisa Gaye as Gwen Kirby.
How to Marry a Millionaire aired in syndication for a total of two seasons.


This film is a classic with some of the best actress's of their time, this film is amazing I most recommend it to any classic movie lover.
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Till Next time everyone










Vintage Dating In The Modern World

09:33

In the modern dating as been a very loose and not very about being with someone to be with for the rest of your life.
 today it about getting pleaser then moving on if you're looking for a date you can follow these tips and find the love of your life.




Put the “Date” back in Dating:
The problem with dating is that it’s changing. It’s noncommittal. We use words like “hanging out” when we ask someone out on a date. This language is casual, which takes off the pressure, but it’s also vague which can lead to confusion. If you’re interested, be direct. Call the person up or ask if they are available in person.

Walk to the door:
Instead of sending a text saying, “I’m here, come outside,” why not get out of the car and ring the doorbell? It’s a minor detail, but it can make the other person feel special. Attention to little details communicates that you see another person’s self-worth.

Turn off your cell phone:
Communication is necessary – especially with people that are in front of us. Cell phones can be distracting. Spending quality time with someone requires attention and listening skills. Don’t just be physically present. Eliminating technology demonstrates that you respect the time you’re sharing with a person.



Plan a date:
Going to a bar or dinner can be fun, but why not pick something that isn’t so generic? Find something you both are interested in doing together. If you both enjoy dancing, then go to a club. If dancing isn’t your thing, then try a coffee tasting, painting class, or a fun activity. By planning a date, you are showing that you’ve taken the time to think about the other person and what they would enjoy doing.




Be on time:
Being on time is a simple but vital characteristic of classic courtship that will never go out of style. I was recently made to wait 30 minutes for a time-neglecting date to turn up. 30 minutes! In a digital society where we’re used to instant feedback, immediate responses, high-speed action, we seem to have lost a sense of real time keeping. Of course, after extended apologies, the outing was resumed (no-one is perfect after all), however, it is worth mentioning that it gave a distinctly bad first impression. (SO uncool Yazmin!)

The do's and don't:
Do
... make an effort with your appearance
... introduce your date to your parents
... respect curfew
... call your date to ask them out (but only if you’re a man because God forbid a woman would make the first move)

Don’t
... be a serial dater (especially if you’re a woman, you hussy)
... let the woman decide on a venue (her little brain may implode)
... ask someone out for a last minute date AKA a booty call (it may make them feel like a last resort)














Go on and find the perfect partner
**all the rights go to the rightful owners**

till next time!





Sportlight 1

13:48

This Spotlight is on Allen Ginsberg



Irwin Allen Ginsberg ( June 3, 1926 – April 5, 1997) was an American poet and one of the leading figures of both the Beat Generation of the 1950s and the counterculture that soon would follow.

He vigorously opposed 
militarismeconomic materialism, and sexual repression and was known as embodying various aspects of this counterculture, such as his views on drugs, hostility to bureaucracy and openness to Eastern religions. He was one of many influential American writers of his time known as the Beat Generation, which included famous writers such as Jack Kerouac and William S. Burroughs.


Ginsberg is best known for his poem "Howl", in which he denounced what he saw as the destructive forces of capitalism and conformity in the United States.
 In 1956, "Howl" was seized by San Francisco police and US Customs.In 1957, it attracted widespread publicity when it became the subject of an obscenity trial, as it described heterosexual and homosexual sex at a time when sodomy laws made homosexual acts a crime in every U.S. state.
























Howl" reflected Ginsberg's own homosexuality and his relationships with a number of men, including Peter Orlovsky, his lifelong partner. Judge Clayton W. Horn ruled that "Howl" was not obscene, adding, "Would there be any freedom of press or speech if one must reduce his vocabulary to vapid innocuous euphemisms?"
Ginsberg was a practicing Buddhist who studied Eastern religious disciplines extensively. He lived modestly, buying his clothing in second-hand stores and residing in downscale apartments in New York’s East Village.
Ginsberg took part in decades of non-violent political protest against everything from the Vietnam War to the War on Drugs. His poem "September on Jessore Road," calling attention to the plight of Bangladeshi refugees, exemplifies what the literary critic Helen Vendler described as Ginsberg's tireless persistence in protesting against "imperial politics, and persecution of the powerless."







The Parents behind the man:


Ginsberg referred to his parents, in a 1985 interview, as "old-fashioned delicatessen philosophers".
His father Louis Ginsberg was a published poet and a high school teacher.Ginsberg's mother, Naomi Livergant Ginsberg, was affected by a psychological illness that was never properly diagnosed.
She was also an active member of the Communist Party and took Ginsberg and his brother Eugene to party meetings.

 Ginsberg later said that his mother "made up bedtime stories that all went something like: 'The good king rode forth from his castle, saw the suffering workers and healed them.'"Of his father, Ginsberg said "My father would go around the house either reciting Emily Dickinson and Longfellow under his breath or attacking T. S. Eliot for ruining poetry with his 'obscurantism.' I grew suspicious of both sides."

Naomi Ginsberg's mental illness often manifested as paranoid delusions. She would claim, for example, that the president had implanted listening devices in their home and that her mother-in-law was trying to kill her.





Blake Vision:

In 1948 in an apartment in Harlem, Ginsberg had an auditory hallucination while reading the poetry of William Blake (later referred to as his "Blake vision"). At first, Ginsberg claimed to have heard the voice of God but later interpreted the voice as that of Blake himself reading Ah, SunflowerThe Sick Rose, and Little Girl Lost, also described by Ginsberg as "voice of the ancient of days".

The experience lasted several days. Ginsberg believed that he had witnessed the interconnectedness of the universe. He looked at lattice-work on the fire escape and realized some hand had crafted that; he then looked at the sky and intuited that some hand had crafted that also, or rather, that the sky was the hand that crafted itself. He explained that this hallucination was not inspired by drug use, but said he sought to recapture that feeling later with various drugs.
 Ginsberg stated: "living blue hand itself [E]xistence itself was God" and "[I] felt a sudden awakening into a totally deeper real universe."




The New York Beats:

In Ginsberg's freshman year at Columbia, he met fellow undergraduate Lucien Carr, who introduced him to a number of future Beat writers, including Jack KerouacWilliam S. Burroughs, and John Clellon Holmes. They bonded because they saw in one another an excitement about the potential of American youth, a potential that existed outside the strict conformist confines of post–World War II, McCarthy-era America.

 Ginsberg and Carr talked excitedly about a "New Vision" (a phrase adapted from Yeats' "A Vision"), for literature and America. Carr also introduced Ginsberg to Neal Cassady, with whom Ginsberg had a long infatuation.


 In the first chapter of his 1957 novel On the Road Kerouac described the meeting between Ginsberg and Cassady.Kerouac saw them as the dark (Ginsberg) and light (Cassady) side of their "New Vision", a perception stemming partly from Ginsberg's association with communism, of which Kerouac had become increasingly distrustful. Though Ginsberg was never a member of the Communist Party, Kerouac named him "Carlo Marx" in On the Road. This was a source of strain in their relationship.








Biographical References in "howl":

Ginsberg claimed at one point that all of his work was an extended biography (like Kerouac's Duluoz Legend). "Howl" is not only a biography of Ginsberg's experiences before 1955 but also a history of the Beat Generation. Ginsberg also later claimed that at the core of "Howl" were his unresolved emotions about his schizophrenic mother.
Though "Kaddish" deals more explicitly with his mother, "Howl" in many ways is driven by the same emotions. "Howl" chronicles the development of many important friendships throughout Ginsberg’s life. He begins the poem with “I saw the best minds of my generation destroyed by madness”, which sets the stage for Ginsberg to describe Cassady and Solomon, immortalizing them into American literature.


 This madness was the “angry fix” that society needed to function—madness was its disease. In the poem, Ginsberg focused on “Carl Solomon! I’m with you in Rockland”, and, thus, turned Solomon into an archetypal figure searching for freedom from his “straightjacket”. Though references in most of his poetry reveal much about his biography, his relationship to other members of the Beat Generation, and his own political views, "Howl", his most famous poem, is still perhaps the best place to start.





films about his work or life:


  • The Life and Times of Allen Ginsberg (film)
  • Allen Ginsberg Live in London
  • Hungry generation
  • Howl (2010 film)
  • Central Park Be-In
  • Trevor Carolan
  • Burroughs: the Movie by Howard Brookner
  • Kill Your Darlings
  • Jewish Buddhist





You Can Watch Kill Your Darlings on Netflix Canada Right Now

Till Next Time!

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