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popentertainment-moviereviews · 2 years

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FACING NOLAN (2022)

Featuring Nolan Ryan, President George W. Bush, Craig Biggio, Steve Buechele, George Brett, Rod Carew, Roger Clemens, Tom Grieve, Tom House, Randy Johnson, Pete Rose, Ivan Rodriguez, Bobby Valentine, Dave Winfield, Bobby Witt, Jerry Grote, Phil Garner, Jeff Torborg, Bobby Grich, Cal Ripken Jr., Craig Reynolds, Enos Cabell, Kevin Bass, Art Howe, Alan Ashby, Jose Cruz Sr., Terry Puhl, Mike Scott, Mike Maddux, Rob Goldman, Barry Warner, John McClain, Aubrey Horner, George Pugh, Ann Ferguson McDougal, Ruth Ryan, Reid Ryan, Reese Ryan, Wendy Bivins, Victoria Ryan, Caroline Ryan, Ella Ryan and Julia Ryan.

Written by Bradley Jackson.

Directed by Bradley Jackson.

Distributed by Utopia. 105 minutes. Not Rated.

While for decades the popular opinion has been that the one most-unbreakable record in baseball is Joe DiMaggio’s 56 game hitting streak, I’ve always disagreed. Yes, that is a spectacular achievement and in the 81 years since it happened only three players have come within 20 games of breaking the record. (Pete Rose had a 44-game streak in 1978, Paul Molitor had a 39-game streak in 1987 and Jimmy Rollins had a 38-game streak spanning the 2005 and 2006 seasons.)

Still, there has always been a record that I felt was even more unlikely to break than that one. It is simply this: Nolan Ryan pitched SEVEN no-hitters in his career. Think about that. Some of the greatest pitchers ever have never gotten one no-hitter. Sandy Koufax is the only other pitcher in history who has as many as four. Only four have had as many as three (Cy Young, Justin Verlander, Bob Feller and Larry Corcoran).

Add to that the fact that in modern baseball it is rare for a starting pitcher to be allowed to pitch a full game, the chances of anyone even getting a whiff of Ryan’s record are infinitesimal.

Not just because of this record, but I can say as a life-long baseball fan who has seen many, many superstars over the years, Nolan Ryan was the single most dominating pitcher that I have ever seen.

He’s not always thought of when people bring up the all-time greats, mostly because he tended to play for fairly bad teams, thus his win-loss records were a little spotty and he rarely made the playoffs. In fact, he only was on one World Series-champion team in a near-30-year career, the 1969 “Miracle” Mets, and at the time he was a youngster who was pitching out of the bullpen. Also his 100-mile-an-hour fast ball (in a time when that was exceedingly rare) could be a little wild.

However, think of this: beyond the record for no-hitters, he also holds the record for one-hitters (12, tied with Bob Feller), two-hitters (18) and three hitters (31). He also holds the career record for strikeouts (5,714), 300-strikeout seasons (6) and 200-strikeout seasons (15). That my friends, is domination.

Of course, he also has the record for most walks allowed, too. Go big or go home.

Facing Nolan is entertaining as a sports documentary because that is exactly what it is. Like its subject, it has no major bells and whistles, just an hour and 45 minutes mostly made up of some fantastic film of 27 years of pitching dominance.

Oh, sure, periodically the film will veer off into other subjects, mostly exploring Ryan’s obvious great love of his family, which appears to be the one thing on Earth that is even more important to the man than baseball is. It also touches on his outside work as a spokesman (there is a funny scene where two of Ryan’s granddaughters good-naturedly mock his old Advil ads), his love of animals, his ranch and Texas, and his induction into the Baseball Hall of Fame.

But mostly, Facing Nolan puts you in the batter’s box as one of the greatest pitchers – if not THE greatest pitcher – in the game wove his magic. They literally got dozens of former major leaguers – both teammates and opponents – to discuss the sheer dominance that Ryan exhibited in his 27 seasons in the big leagues.

However, even more interesting is letting the big guy talk about himself. He may be a legend, but he’s also humble and funny about his place in the show. Unlike his former opponents, no baseball fan should hesitate about Facing Nolan.

Jay S. Jacobs

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#Facing Nolan #2022 #Movie Review #Nolan Ryan #Jay S. Jacobs

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philmax2018 · 2 years

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DiMaggio brothers credit mom with their successes

Rosalie Mercurio DiMaggio, a Sicilian immigrant, bore nine children, three of whom became Major League center fielders. Since the boys' father, San Francisco fisherman Giuseppe, considered baseball “a bum's game,” Rosalie covered for the Vince, Dominic and Joe Jr. so they could practice with other local boys. Then and now, the Bay Area was a hotbed of baseball talent that included Barry Bonds, Billy Martin, Keith Hernandez, Gil McDougald, seven-time All-Star Joe Cronin, and four-time AL batting champion Harry Heilmann. from Korea Times News https://ift.tt/JStwYrW via IFTTTDiigo Blogger Tumblr Evernote

#IFTTT #Korea Times News

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geek-gem · 3 years

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Sonic Resurgence

*This isn’t something I may not develop more...but I wanted to make this before June 23rd 2021 ends. This was something that was in my mind. It was tricky to decide the name for this thing. Mainly for part 1, but I should’ve of just thought of this title being for this reimagining.

While I seriously think it will be a long time or Sega may never reboot this franchise. This is basically my reimagining of the Sonic franchise. Including this was inspired by my crazy movie adaptions idea for the Sonic franchise. This seems much better fitting for a video game. So...just something I wanna make if I ever do anything with it. It’s mainly gonna be one thing. But I have thought of the next two parts.*

Part 1: Metallic Reflections.

Part 2: Countdown To Chaos/The God Of Chaos. Featuring Chaos, Knuckles, and Tikal. Maybe Big and whoever else.

Part 3: The Ultimate Lifeform: The story of Shadow.

The resurgence is here. A hero will rise.

Despite being an outcast and loner for most of his life. Sonic, a hedgehog and young adult, has been selfless for most of his life. Trying to help people and do good as much as he can. But when a mysterious blue blur starts terrorizing people and destroying places around the world. He is framed and chased by the military. Now for maybe the first time in his life, Sonic must need the help of new friends to help him stop this new menace and clear his name.

And as soon as they discover who they are facing. It is the now returning Dr. Ivo Robotnik who has gone rogue. And his greatest and most fearsome creation, Metal Sonic. Who was inspired by Sonic himself.

Possibly hero story: An outcast and loner, but selfless and brave. Sonic is framed for crimes he didn’t commit. He must now need the help of new friends such as Tails, Amy Rose, a mother and her daughter to help stop this threat and clear his name.

During this adventure, Sonic for the first time experiences the feeling of genuine friendship, family, and brotherhood. As he must bring out all he has with his power to run incredibly fast to stop the the sinister Dr. Robotnik, the nearly unstoppable Metal Sonic, and the unknown Rouge the bat from not only possibly conquering the planet. But taking the first thing he has considered family.

Possibly dark story: Dr. Ivo Robotnik knowing he has the power to control and dominate, decides to go rogue. To make sure he wins, he gets inspired by the legend of the Blue Blur himself and decides to make his greatest creation. Metal Sonic. A robot as fast and as strong as Sonic.

Joined by an unknown treasure hunter known as Rouge the bat. Who seems like who wants to help them. But who seems to have other planes. During all of this as he fights his original counterpart. Metal starts questioning his own existence and his own loyalty. But most importantly, what it means to be Sonic, but who is the real Sonic?

Josh Keaton as Sonic The Hedgehog/Metal Sonic.

John DiMaggio as Dr. Ivo Robotink.

Zach Callison as Miles Tails Prower.

Jill Harris as Amy Rose.

Nicole Tompkins as Rouge The Bat.

Wendie Malick as Erica Regine.

Erica Lindbeck as Katelyn Regine.

Really wanted to get this done before 12 and it’s 11:51 pm right now.

#GeekGem Rambles

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dan6085 · 2 days

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List of the top 20 sports personalities of all time, along with explanations for their inclusion:

1. Kobe Bryant - Legendary NBA player, known for his competitive drive, impact on the game, and advocacy for women's basketball[1].

2. Hulk Hogan - Iconic professional wrestler, one of the most famous and influential figures in the history of wrestling[1].

3. Shaquille O'Neal - Dominant NBA player, renowned for his physical dominance, charisma, and successful post-playing career[1].

4. LeBron James - Superstar NBA player, considered one of the greatest of all time, with a massive global influence[1].

5. Muhammad Ali - Legendary boxer, renowned for his skill, showmanship, and social activism[1].

6. Michael Jordan - Basketball icon, widely regarded as the greatest player of all time, with unparalleled success and influence[1].

7. Tiger Woods - Legendary golfer, who revolutionized the sport and achieved unprecedented success[1].

8. Serena Williams - Dominant tennis player, one of the most successful and influential athletes in the world[1].

9. Mike Tyson - Iconic boxer, known for his ferocious fighting style and larger-than-life persona[1].

10. Babe Ruth - Baseball legend, considered one of the greatest players in the sport's history[1].

11. Magic Johnson - Iconic NBA player, renowned for his leadership, passing ability, and impact on the game[1].

12. Peyton Manning - Legendary NFL quarterback, known for his intelligence, leadership, and success on the field[1].

13. Michael Phelps - Dominant swimmer, the most decorated Olympian of all time with 28 medals[1].

14. Venus Williams - Pioneering tennis player, who along with her sister Serena, transformed the sport[1].

15. Lance Armstrong - Controversial cyclist, who won the Tour de France a record seven times[1].

16. George Foreman - Legendary boxer, known for his powerful punching and successful comeback later in life[1].

17. Tom Brady - Iconic NFL quarterback, considered one of the greatest players in the sport's history[1].

18. Jackie Robinson - Groundbreaking baseball player, who broke the color barrier and paved the way for integration[1].

19. Joe DiMaggio - Baseball legend, known for his record-setting hitting streak and iconic status[1].

20. Dale Earnhardt, Jr. - Successful NASCAR driver, who carried on his father's legacy and became a fan favorite[1].

These sports personalities have been included in the list due to their exceptional achievements, impact on their respective sports, global recognition, and lasting influence on the world of sports and popular culture.

Sources

[1] The Most Famous All-time Sports Personalities (Q1 2024) - YouGov https://today.yougov.com/ratings/sports/fame/all-time-sports-personalities/all

[2] The Power List 2023: The 50 Most Influential Figures in Sports https://www.si.com/sports-illustrated/2023/07/13/the-power-list-50-most-influential-figures-in-sports

[3] The 15 most popular athletes of all time have been ranked - GiveMeSport https://www.givemesport.com/most-popular-athletes-of-all-time/

[4] Top 20 Greatest Actors of All Time (The Ultimate List) - IMDb https://www.imdb.com/list/ls057029165/

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monroetalks · 3 years

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The Woman Who Will Not Die: an essay about Marilyn Monroe by Gloria Steinem

It has been nearly a quarter of a century since the death of a minor American actress named Marilyn Monroe. There is no reason for her to be a part of my consciousness as I walk down a midtown New York street frilled with color and action and life.

In a shop window display of white summer dresses, I see several huge photographs – a life-size cutout of Marilyn standing in a white halter dress, some close-ups of her vulnerable, please-love-me smile – but they don’t look dated. Oddly, Marilyn seems to be just as much a part of this street scene as the neighboring images of models who could now be her daughters – even her granddaughters. I walk another block and pass a record store featuring the hit albums of a rock star named Madonna. She has imitated Marilyn Monroe’s hair, style, and clothes, but subtracted her vulnerability. Instead of using seduction to offer men whatever they want, Madonna uses it to get what she wants – a 1980’s difference that has made her the idol of teenage girls. Nevertheless, her international symbols of femaleness are pure Marilyn.

A few doors away, a bookstore displays two volumes on Marilyn Monroe in its well-stocked window. The first is nothing but random photographs, one of many such collections that have been published over the years. The second is one of several recent exposes on the circumstances surrounding Monroe’s 1962 death from an accidental or purposeful overdose of sleeping pills. Could organized crime, Jimmy Hoffa in particular, have planned to use her friendship with the Kennedys and her suicide – could Hoffa and his friends even have caused that suicide – in order to embarrass or blackmail Robert Kennedy, who was definitely a mafia enemy and probably her lover? Only a few months ago, Marilyn Monroe’s name made international headlines again when a British television documentary on this conspiracy theory was shown and a network documentary made in the United States was suppressed, with potential pressure from crime-controlled unions or the late Robert Kennedy’s family as rumored reasons.

I knew I belonged to the public and to the world, not because I was talented or even beautiful but because I had never belonged to anything or anyone else. — From the Unfinished Biography of Marilyn Monroe

As I turn the corner into my neighborhood, I pass a newsstand where the face of one more young Marilyn Monroe look-alike stares up at me from a glossy magazine cover. She is Kate Mailer, Norman Mailer’s daughter, who was born the year that Marilyn Monroe died. Now she is starring in “Strawhead,” a “memory play” about Monroe written by Norman Mailer, who is so obsessed with this long-dead sex goddess that he had written one long biography and another work – half fact, half fiction – about her, even before casting his daughter in this part.

The next morning, I turn on the television and see a promotion for a show on film director Billy Wilder. The only clip chosen to attract viewers and represent Wilder’s entire career is one of Marilyn Monroe singing a few breathless bars in Some Like It Hot, one of two films they made together.

These are everyday signs of a unique longevity. If you add her years of movie stardom to the years since her death, Marilyn Monroe has been a part of our lives and imaginations for nearly four decades. That’s a very long time for one celebrity to survive in a throwaway culture.

In the 1930’s, when English critic Cyril Connolly proposed a definition of posterity to measure whether a writer’s work had stood the test of time, he suggested that posterity should be limited to 10 years. The form and content of popular culture were changing too fast, he explained, to make any artist accountable for more than a decade.

Since then, the pace of change has been accelerated even more. Everything from the communications revolution to multinational entertainment has altered the form of culture. Its content has been transformed by civil rights, feminism, an end to film censorship, and much more. Nonetheless, Monroe’s personal and intimate ability to inhabit our fantasies has gone right on. As I write this, she is still better known than most living movie stars, most world leaders, and most television personalities. The surprise is that she rarely has been taken seriously enough fur us to ask why that is so.

One simple reason for her life story’s endurance is the premature end of it. Personalities and narratives projected onto the screen of our imaginations are far more haunting – and far more likely to be the stuff of conspiracies and conjuncture – if they have not been allowed to play themselves out to their logical or illogical ends. James Dean’s brief life is the subject of a cult, but the completed lives of such “outsiders” as Gary Cooper or Henry Fonda are not. Each day in the brief Camelot of John Kennedy inspires as much speculation as each year in the long New Deal of Franklin Roosevelt. The few years of Charlie “Bird” Parker’s music inspire graffiti (“Bird Lives”), but the many musical years of Duke Ellington do not.

When the past dies there is mourning, but when the future dies, our imaginations are compelled to carry it on.

Would Marilyn Monroe have become the serious actress she aspired to be? Could she have survived the transition from sex goddess to mortal woman that aging would impose? Could she had stopped her disastrous marriages to men whose images she wanted to absorb (Beloved American DiMaggio, Serious Intellectual Miller), and found a partner who loved and understood her as she really was? Could she have kicked the life-wasting habits of addiction and procrastination? Would she have had or adopted children? Found support in the growing strength of women or been threatened by it? Entered the world of learning or continued to be ridiculed for trying? Survived and even enjoyed the age of 60 she now would be?

Most important, would she finally have escaped her lifetime combination of two parts talent, one part victim, and one part joke? Would she have been “taken seriously,” as she so badly wanted to be?

We will never know. Every question is as haunting as any of its possible answers.

But the poignancy of this incompleteness is not enough to explain Marilyn Monroe’s enduring power. Even among brief public lives, few become parables. Those that endure seem to hook into our deepest emotions of hope or fear, dream or nightmare, of what our own fates might be. Successful leaders also fall into one group or the other: those who invoke a threatening future and promise disaster unless we obey, and those who conjure up a hopeful future and promise reward if we will follow. It’s this power of either fear or hope that makes a personal legend survive, from the fearsome extreme of Adolph Hitler (Did he really escape? Might he have lived on in the jungles of South America?) to the hopeful myth of Zapata waiting in the hills of Mexico to rescue his people. The same is true for the enduring fictions of popular culture, from the frightening villain to the hopeful hero, each of whom is reincarnated again and again.

In an intimate way during her brief life, Marilyn Monroe hooked into both those extremes of emotion. She personified many of the secret hopes of men and many secret fears of women.

To men, wrote Norman Mailer, her image was “gorgeous, forgiving, humorous, compliant and tender… she would ask no price.” She was the child-woman who offered pleasure without adult challenge; a lover who neither judged nor asked anything in return. Both the roles she played and her own public image embodied a masculine hope for a woman who is innocent and sensuously experienced at the same time. “In fact,” as Marilyn said toward the end of her career, “my popularity seems almost entirely a masculine phenomenon.”

Since most men have experienced female power only in their childhoods, they associate it with a time when they themselves were powerless. This will continue as long as children are raised almost totally by women, and rarely see women in authority outside the home. That’s why male adults, and some females too, experience the presence of a strong woman as a dangerous regression to a time of their own vulnerability and dependence. For men, especially, who are trained to measure manhood and maturity by their distance from the world of women, being forced back to that world for female companionship may be very threatening indeed. A compliant child-woman like Monroe solves this dilemma by offering sex WITHOUT the power of an adult woman, much less of an equal. As a child herself, she allows men to feel both conquering and protective; to be both dominating and admirable at the same time.

For women, Monroe embodies kinds of fear that were just as basic as the hope she offered men: the fear of a sexual competitor who could take away men on whom women’s identities and even livelihoods might depend; the fear of having to meet her impossible standard of always giving – and asking nothing in return; the nagging fear that we might share her feminine fate of being vulnerable, unserious, constantly in danger of becoming a victim.

Aside from her beautiful face, which women envied, she was nothing like the female stars that women moviegoers have made popular. Those stars offered at the least the illusion of being in control of their fates – and perhaps having an effect on the world. Stars of the classic “women’s movies” were actresses like Bette Davis, who made her impact by sheer force of emotion; or Katherine Hepburn, who was always intelligent and never victimized for long; or even Doris Day, who charmed the world into conforming to her own virginal standards. Their figures were admirable and neat, but without the vulnerability of the big-breasted woman in a society that regresses men and keeps them obsessed with the maternal symbols of breasts and hips. Watching Monroe was quite different: women were forced to worry for her vulnerability – and thus their own. They might feel like a black moviegoer watching a black actor play a role that was too passive, too obedient, or a Jew watching a Jewish character who was selfish and avaricious. In spite of some extra magic, some face-saving sincerity and humor, Marilyn Monroe was still close to the humiliating stereotype of a dumb blonde: depersonalized, sexual, even a joke. Yet few women yet had the self-respect to object on behalf of their sex, as one would object on behalf of a race or religion, they still might be left feeling a little humiliated – or threatened – without knowing why.

“I have always had a talent for irritating women since I was fourteen,” Marilyn wrote in her unfinished auto-biography. “Sometimes I’ve been to a party where no one spoke to me for a whole evening. The men, frightened by their wives or sweeties, would give me a wide berth. And the ladies would gang up in a corner to discuss my dangerous character.”

But all that was before her death and the revelations surrounding it. The moment she was gone, Monroe’s vulnerability was no longer just a turn-on for many men and an embarrassment for many women. It was a tragedy. Whether that final overdose was suicide or not, both men and women were forced to recognize the insecurity and private terrors that had caused her to attempt suicide several times before.

Men who had never known her wondered if their love and protection might have saved her. Women who had never known her wondered if their empathy and friendship might have done the same. For both women and men, the ghost of Marilyn came to embody a particularly powerful form of hope: the rescue fantasy. Not only did we imagine a happier ending for the parable of Marilyn Monroe’s life, but we also fantasized ourselves as saviors who could have brought it about.

Still, women didn’t seem quite as comfortable about going public with their rescue fantasies as men did. It meant admitting an identity with a woman who always had been a little embarrassing, and who had now turned out to be doomed as well. Nearly all of the journalistic eulogies that followed Monroe’s death were written by men. So are almost all of the nearly 40 books that have been published about Monroe.

Bias in the minds of editors played a role, too. Consciously or not, they seemed to assume that only male journalists should write about a sex goddess. Margaret Parton, a reporter from the Ladies’ Home Journal and one of the few women assigned to profile Marilyn during her lifetime, wrote an article that was rejected because it was too favorable. She had reported Marilyn’s ambitious hope of playing Sadie Thompson, under the guidance of Lee Strasberg, in a television version of RAIN, based on a short story by Somerset Maugham. (Sadie Thompson was “a girl who knew how to be gay, even when she was sad,” a fragile Marilyn had explained, “and that’s important – you know?”) Parton also reported her own “sense of having met a sick little canary instead of a peacock. Only when you pick it up in your hand to comfort it … beneath the sickness, the weakness and the innocence, you find a strong bone structure, and a heart beating. You RECOGNIZE sickness, and you FIND strength.”

Bruce and Beatrice Gould, editors of the Ladies’ Home Journal, told Parton she must have been “mesmerized” to write something so uncritical. “If you were a man,” Mr. Gould told her, “I’d wonder what went on that afternoon in Marilyn’s apartment.” Fred Guiles, one of Marilyn Monroe’s more fair-minded biographers, counted the suppression of this sensitive article as one proof that many editors were interested in portraying Monroe, at least in those later years, as “crazy, a home wrecker.”

Just after Monroe’s death, one of the few women to write with empathy was Diana Trilling, an author confident enough not to worry about being trivialized by association – and respected enough to get published. Trilling regretted the public’s “mockery of [Marilyn’s] wish to be educated,” and her dependence on sexual artifice that must have left “a great emptiness where a true sexuality would have supplied her with a sense of herself as a person.” She mourned Marilyn’s lack of friends, “especially women, to whose protectiveness her extreme vulnerability spoke so directly.”

“But we were the friends,” as Trilling said sadly, “of whom she knew nothing.”

In fact, the contagion of feminism that followed Monroe’s death by less than a decade may be the newest and most powerful reason for the continuing strength of her legend. As women began to be honest in public, and to discover that many of our experiences were more societal than individual, we also realized that we could benefit more by acting together than by deserting each other. We were less likely to blame or be the victim, whether Marilyn or ourselves, and more likely to rescue ourselves and each other.

In 1972, the tenth anniversary of her death and the birth year of MS., the first magazine to be published by and for women, Harriet Lyons, one of its early editors, suggested that MS. do a cover story on Marilyn called “the woman who died too soon.” As the writer of this brief essay about women’s new hope of reclaiming Marilyn, I was astounded by the response to the article. It was like tapping an underground river of interest. For instance:

Marilyn had talked about being sexually assaulted as a child, though many of her biographers had not believed her. Women wrote in to tell their similar stories. It was my first intimation of what since has become a documented statistic: one in six adult women has been sexually assaulted in childhood by a family member. The long-lasting effects – for instance, feeling one has no value except a sexual one – seemed shared by these women and Marilyn. Yet most were made to feel guilty and alone, and many were as disbelieved by the grown-ups around them as Marilyn had been.

Physicians had been more likely to prescribe sleeping pills and tranquilizers than to look for the cause of Monroe’s sleeplessness and anxiety. They had continued to do so even after she attempted suicide several times. Women responded with their own stories of being over-medicated, and of doctors who assumed women’s physical symptoms were all in their “minds.” It was my first understanding that women are more likely to be given chemical and other arm’s-length treatment, and to suffer from the assumption that they can be chemically calmed or sedated with less penalty because they are doing only “women’s work.” Then, ads in medical journals blatantly recommended tranquilizers for depressed housewives, and even now the majority of all tranquilizer prescriptions are written for women. Acting, modeling, making a living more from external appearance than from internal identity – these had been Marilyn’s lifelines out of poverty and obscurity. Other women who had suppressed their internal selves to become interchangeable “pretty girls” – and as a result were struggling with both lack of identity and terror of aging – wrote to tell their stories.

To gain the seriousness and respect that was largely denied her, and to gain the fatherly protection she had been completely denied, Marilyn married a beloved American folk hero and then a respected intellectual. Other women who had tried to marry for protection or for identity, as women are often encouraged to do, wrote to say how impossible and childlike this had been for them, and how impossible for their husbands who were expected to provide their wives’ identities. But Marilyn did not live long enough to see a time in which women sought their own identities, not just derived ones.

During her marriage to Arthur Miller, Marilyn had tried to have a child – but suffered an ectopic pregnancy, a miscarriage – and could not. Letters poured in from women who also suffered from this inability and from a definition of womanhood so tied to the accident of the physical ability to bear a child – preferably a son, as Marilyn often said, though later she also talked of a daughter – that their whole sense of self had been undermined. “Manhood means many things,” as one reader explained, “but womanhood means only one.” And where is the self-respect of a woman who wants to give birth only to a male child, someone different from herself?

Most of all, women readers mourned that Marilyn had lived in an era when there were so few ways for her to know that these experiences were shared with other women, that she was not alone.

Now women and men bring the last quarter century of change and understanding to these poignant photographs taken in the days just before her death. It makes them all the more haunting. [Editor’s Note: this chapter originally appeared with photographs, which are not present here.]

I still see the self-consciousness with which she posed for a camera. It makes me remember my own teenage discomfort at seeing her on the screen, mincing and whispering and simply hoping her way into love and approval. By holding a mirror to the exaggerated ways in which female human beings are trained to act, she could be as embarrassing – and as sad and revealing – as a female impersonator. Yet now I also see the why of it, and the woman behind the mask that her self-consciousness creates.

I still feel worried about her, just as I did then. There is something especially vulnerable about big-breasted women in this world concerned with such bodies, but unconcerned with the real person within. We may envy these women a little, yet we feel protective of them, too.

But in these photographs, the body emphasis seems more the habit of some former self. It’s her face we look at. Now that we know the end of the story, it’s the real woman we hope to find – looking out of the eyes of Marilyn.

In the last interview before her death, close to the time of these photographs, Patricia Newcomb, her friend and press secretary, remembers that Marilyn pleaded unsuccessfully with the reporter to end his article like this:

What I really want to say: That what the world really needs is a real feeling of kinship. Everybody: stars, laborers, Negroes, Jews, Arabs. We are all brothers. Please don’t make me a joke. End the interview with what I believe.

Published in 1986 and written by Gloria Steinem.

#gloria steinem #marilyn monroe #articles

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www-islandofsodor · 3 years

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Perfect Sodor U.S voice cast (anyone not featured on this list will remain in the role as they were):

Yuri Lowenthal: Thomas

Sam Vincent: Percy

Christopher Daniel Barnes: Toby

Jeff Bergman: Eustace

Billy West: Howard

Dwight Schultz: Dwight

Sam Riegel: Derek the Paxman Diesel

Jeff Bennet: Billy & Duck the Great Western Engine

Mark Williams: Toad the Brakevan

Jennifer Hale: Mavis

Danica McKeller: Rosie

Jim Meskimen: Henry

David Kaye: Edward

Tom Kane: Mr. Fergus Duncan

Colm Feore: Willory the Furness Engine

Martin Freeman: William

Lucy Montgomery: Marigold the Quarry Crane (Merrick’s genderbent counterpart)

William Salyers: Dolgoch

Eddie Perino: James the Red Engine

Minty Lewis: Molly

Will Friedle: Bill

Jason Marsden: Ben

Clancy Brown: Boco

Jonathan Wilson: Patrick the Cement Mixer

Andrea Baker: Isabella the lorry

Jamie Watson: Bulstrode

Joe Pingue: Whiff the Garbage Engine

Jodi Benson: Old Slow Coach

Travis Willingham: Gordon the big engine

Troy Baker: Spencer the Private Engine

Rick Wasserman: Byron The Bulldozer

Josh Keaton: Jack the Front Loader

Lester Loren: Alfie the Excavator

John DiMaggio: Buster the Steamroller & Lord Callan

Mark Hamil: George the Steamroller

Pierce Brosnan: Murdoch

Thomas Middleditch: Stanley

Kevin Micheal Richardson: Max & Monty

Roz Ryan: Rosetta (Flora’s tram coach)

Kate Micucci: Flora the Great Waterton Steam Tram

Micheal Rosenbaum: Bernie the Bus (Formerly Bertie)

Sara Ballantine: Ali the bus (Formerly Algy)

Tom Kenny: Peter Sam

Jason Spisak: Sir Handel

Bob Joles: Bertram

Mike Judge: Hank

James Arnold Taylor: Dennis

Kari Walhgren: Emily the Sterling Engine

Kate Higgins: Pip & Emma

Susan Eisenberg: Kelly the Crane (genderbent)

Trevor Duvall: Smudger

Phil Lamar: Skarloey & Terence the Tractor

Dee Bradly Baker: Rheneas

Stephen Stanton: Fearless Freddie

Maurice LaMaurche: Mr. Hugh

Maria Canals-Barrera: Risty (genderbent/non-binary Rusty)

Frank Welker: The Duke of Boxford

Ted Atherton: Mighty

Danny Smith: Mac

Kath Souice: The Duchess of Boxford

Joe Swash: Stepney the bluebell engine

Steve Purcell: Cromford the bluebell engine

Michelle Aang: Bernice the GW Lemon drop engine

Mark Oliver: City of Truro

Alan Cumming: Lachlan

Neil Crone: Splatter

Kevin Frank: Dodge

Vanessa Marshall: Andrea the Narrow Gauge express engine

Colin McFarlane: Bert the diesel & Richard the new express engine

Greg Whalen: Duncan

Fred Tatasciore: Bear

Bill Hillfager: Ned the Steamshovel

Bob Golding: Eric

Grey Griffin: Bertha

Scott Thompson: Elizabeth

Tony Nappo: Cranky the Crane

Keith Scott: Diesel 10

Eric Roberts: Devious Diesel

Taliesin Jaffe: Arthur The LMS Engine

Christian Bale: Paxton

Jonny Harris: Oliver the Great Western Engine

Carlos Alazraqui: Douglas

Hank Azaria: Old Bailey

Tress MacNeille: Lily

Eddie Deezem: Fergus

David Tennant: Neville

Dominic Monaghan: Donald

David Menkin: Jeremy the Jet Plane

Nolan North: Porter

JB Blanc: Arry the diesel

David Foley: Mr. Percival

Siobhan Flynn: Miss Jenny Packard

Nicola Stapleton: Sydney the forgetful diesel (genderbent)

Danielle Judovits: Ivy (genderbent Ivo Hugh)

Cam Clarke: Orlando the Excavator

Emma Thompson: Gwen (genderbent Den)

Leigh-Allyn Baker: Colleen the Wharf Crane (genderbent Colin)

Jess Harnell: Nelson

Erica Lindbeck: Franny (genderbent Fred the diesel)

Greg Cipes: Ryan

Ashley Johnson: Rebecca

Laura Bailey: Annie & Clarabel

Aries Spears: Horrid Lorries

Gary Anthony Williams: Jem Cole

Rupert Degas: Trevor the traction engine

Rob Paulson: Reverend Charles Laxly- Vicar of Wellsworth

Henry Ian Cusick: Harold the Helicopter

Paul Dobson: Duke the lost engine

Tara Strong: Nancy (a conductor’s daughter)

Jules De Jongh: Maya Sarrengato (mayoress of Great Waterton)

Scott McNeil: Rocky the Crane

Joe Mills: Jock

Peter McNicol: Spamcan

Mick Wingert: Flynn the Firetruck

Olivia DeAbo: Olivia the Arlesdale tank engine

Robin Atkin Downes: Cyril the Arlesdale diesel & Boxhill (Stepney’s twin brother)

Rob Rackshaw: Frank the diesel

Sara Cravens: Audrey Balsinde (deputy mayoress of Great Waterton)

Jaime Pressly: Caroline the car

#planetsodor #thomas and friends #fancast #us voice actors #perfect casting

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