#Max Terhune

[classicmoviesarchive]

Underground Rustlers (1941) / Western film / Ray Corrigan, John "Dusty" King, Max Terhune

[letterboxd-loggd]

Overland Stage Raiders (1938) George Sherman

April 21st 2021

[shushmuckle]

[michigandrifter]

Silverado 1985

[dwellordream]

“…The complex design of the Victorian house signified the changing ratio between the cultural and physical work situated there. With its twin parlors, one for formal, the other for intimate exchange, and its separate stairs and entrances for servants, the Victorian house embodied cultural preoccupations with specialized functions, particularly distinguishing between public and private worlds.

American Victorians maintained an expectation of sexualized and intimate romanticism in private at the same time that they sustained increasingly ‘‘proper’’ expectations for conduct in public. The design of the house helped to facilitate the expression of both tendencies, with a formal front parlor designed to stage proper interactions with appropriate callers, and the nooks, crannies, and substantial private bedrooms designed for more intimate exchange or for private rumination itself.

Just as different areas of the house allowed for different gradations of intimacy, so did the house offer rooms designed for different users. The ideal home offered a lady’s boudoir, a gentleman’s library, and of course a children’s nursery. This ideal was realized in the home of Elizabeth E. Dana, daughter of Richard Henry Dana, who described her family members situated throughout the house in customary and specialized space in one winter’s late afternoon in 1865. Several of her siblings were in the nursery watching a sunset, ‘‘Father is in his study as usual, mother is taking her nap, and Charlotte is lying down and Sally reading in her room.’’ In theory, conduct in the bowels of the house was more spontaneous than conduct in the parlor.

This was partly by design, in the case of adults, but by nature in the case of children. If adults were encouraged to discover a true, natural self within the inner chambers of the house, children—and especially girls—were encouraged to learn how to shape their unruly natural selves there so that they would be presentable in company. The nursery for small children acknowledged that childish behavior was not well-suited for ‘‘society’’ and served as a school for appropriate conduct, especially in Britain, where children were taught by governesses in the nursery, and often ate there as well. In the United States children usually went to school and dined with their parents. As the age of marriage increased, the length of domestic residence for some girls extended to twenty years and more.

The lessons of the nursery became more indirect as children grew up. Privacy for children was not designed simply to segregate them from adults but was also a staging arena for their own calisthenics of self-discipline. A room of one’s own was the perfect arena for such exercises in responsibility. As the historian Steven Mintz observes, such midcentury advisers as Harriet Martineau and Orson Fowler ‘‘viewed the provision of children with privacy as an instrument for instilling self-discipline. Fowler, for example, regarded private bedrooms for children as an extension of the principle of specialization of space that had been discovered by merchants. If two or three children occupied the same room, none felt any responsibility to keep it in order.’’

…The argument for the girl’s room of her own rested on the perfect opportunity it provided for practicing for a role as a mistress of household. As such, it came naturally with early adolescence. The author Mary Virginia Terhune’s advice to daughters and their mothers presupposed a room of one’s own on which to practice the housewife’s art. Of her teenage protagonist Mamie, Terhune announced: ‘‘Mamie must be encouraged to make her room first clean, then pretty, as a natural following of plan and improvement. . . . Make over the domain to her, to have and to hold, as completely as the rest of the house belongs to you. So long as it is clean and orderly, neither housemaid nor elder sister should interfere with her sovereignty.’’ Writing in 1882, Mary Virginia Terhune favored the gradual granting of autonomy to girls as a natural part of their training for later responsibilities.

…Victorian parents convinced their daughters that the secret to a successful life was strict and conscientious self-rule. The central administrative principle was carried forth from childhood: the responsibility to ‘‘be good.’’ The phrase conveyed the prosecution of moralist projects and routines, and perhaps equally significant, the avoidance or suppression of temper and temptation. Being good extended beyond behavior and into the realm of feeling itself. Being good meant what it said—actually transfiguring negative feelings, including desire and anger, so that they ceased to become a part of experience.

Historians of emotion have argued that culture can shape temperament and experience; the historian Peter Stearns, for one, argues that ‘‘culture often influences reality’’ and that ‘‘historians have already established some connections between Victorian culture and nineteenth-century emotional reality.’’ More recently, the essays in Joel Pfister and Nancy Schnog’s Inventing the Psychological share the assumption that the emotions are ‘‘historically contingent, socially specific, and politically situated.’’ The Victorians themselves also believed in the power of context to transform feeling.

The transformation of feeling was the end product of being good. Early lessons were easier. Part of being good was simply doing chores and other tasks regularly, as Alcott’s writings suggest. One day in 1872 Alice Blackwell practiced the piano ‘‘and was good,’’ and another day she went for a long walk ‘‘for exercise,’’ made two beds, set the table, ‘‘and felt virtuous.’’ Josephine Brown’s New Year’s resolutions suggested such a regimen of virtue—sanctioned both by the inherent benefits of the plan and by its regularity.

As part of her plan to ‘‘make this a better year,’’ she resolved to read three chapters of the Bible every day (and five on Sunday) and to ‘‘study hard and understandingly in school as I never have.’’ At the same time, Brown realized that doing a virtuous act was never simply a question of mustering the positive energy to accomplish a job. It also required mastering the disinclination to drudge. She therefore also resolved, ‘‘If I do feel disinclined, I will make up my mind and do it.’’

The emphasis on forming steady habits brought together themes in religion and industrial culture. The historian Richard Rabinowitz has explained how nineteenth-century evangelicalism encouraged a moralism which rejected the introspective soul-searching of Calvinism, instead ‘‘turning toward usefulness in Christian service as a personal goal.’’ This pragmatic spirituality valued ‘‘habits and routines rather than events,’’ including such habits as daily diary writing and other regular demonstrations of Christian conduct. Such moralism blended seamlessly with the needs of industrial capitalism—as Max Weber and others have persuasively argued.

Even the domestic world, in some ways justified by its distance from the marketplace, valued the order and serenity of steady habits. Such was the message communicated by early promoters of sewing machines, for instance, one of whom offered the use of the sewing machine as ‘‘excellent training . . . because it so insists on having every-thing perfectly adjusted, your mind calm, and your foot and hand steady and quiet and regular in their motions.’’ The relation between the market place and the home was symbiotic. Just as the home helped to produce the habits of living valued by prudent employers, so, as the historian Jeanne Boydston explains, the regularity of machinery ‘‘was the perfect regimen for developing the placid and demure qualities required by the domestic female ideal.’’

Despite its positive formulation, ‘‘being good’’ often took a negative form —focusing on first suppressing or mastering ‘‘temper’’ or anger. The major target was ‘‘willfulness.’’ An adviser participating in Chats with Girls proposed the cultivation of ‘‘a perfectly disciplined will,’’ which would never ‘‘yield to wrong’’ but instantly yield to right. Such a will, too, could teach a girl to curb her unruly feelings. The Ladies’ Home Journal columnist Ruth Ashmore (a pseudonym for Isabel Mallon) more crudely warned readers ‘‘that the woman who allows her temper to control her will not retain one single physical charm.’’ As a young teacher, Louisa May Alcott wrestled with this most common vice.

Of her struggles for self-control, she recognized that ‘‘this is the teaching I need; for as a school-marm I must behave myself and guard my tongue and temper carefully, and set an example of sweet manners.’’ Alcott, of course, made a successful career out of her efforts to master her maverick temper. The autobiographical heroine of her most successful novel, Little Women, who has spoken to successive generations of readers as they endured female socialization, was modeled on her own struggles to bring her spirited temperament in accord with feminine ideals.

So in practice being good first meant not being bad. Indeed, it was some- times better not to ‘‘be’’ much at all. Girls sometimes worked to suppress liveliness of all kinds. Agnes Hamilton resolved at the beginning of 1884 that she would ‘‘study very hard this year and not have any spare time,’’ and also that she would try to stop talking, a weakness she had identified as her principle fault.

When Lizzie Morrissey got angry she didn’t speak for the rest of the evening, certainly preferable to impassioned speech. Charlotte Perkins Gilman, who later critiqued many aspects of Victorian repression, at the advanced age of twenty-one at New Year’s made her second resolution: ‘‘Correct and necessary speech only.’’

Mary Boit, too, measured her goodness in terms of actions uncommitted. ‘‘I was good and did not do much of anything,’’ she recorded ambiguously at the age of ten. It is perhaps this reservation that provoked the reflection of southerner Lucy Breckinridge, who anticipated with excitement the return of her sister from a long trip. ‘‘Eliza will be here tomorrow. She has been away so long that I do not know what I shall do to repress my joy when she comes. I don’t like to be so glad when anybody comes.’’ Breckinridge clearly interpreted being good as in practice an exercise in suppression. This was just the lesson of self-censoring that Alice James had starkly described as ‘‘‘killing myself,’ as some one calls it.’’

This emphasis on repressing emotion became especially problematic for girls in light of another and contradictory principle connected with being good. A ‘‘good’’ girl was happy, and this positive emotion she should express in moderation. Explaining the duties of a girl of sixteen, an adviser writing in the Ladies’ Home Journal noted that she should learn ‘‘that her part is to make the sunshine of the home, to bring cheer and joyousness into it.’’ At the same time that a girl must suppress selfishness and temper, she must also project contentment and love. Advisers simply suggested that a girl employ a steely resolve to substitute one for the other. ‘‘Every one of my girls can be a sunshiny girl if she will,’’ an adviser remonstrated. ‘‘Let every failure act as an incentive to greater success.’’

This message could be concentrated into an incitement not to glory and ethereal virtue but simply to a kind of obliging ‘‘niceness.’’ This was the moral of a tale published in The Youth’s Companion in 1880. A traveler in Norway arrives in a village which is closed up at midday in mourning for a recent death. The traveler imagines that the deceased must have been a magnate or a personage of wealth and power. He inquires, only to be told, ‘‘It is only a young maiden who is dead. She was not beautiful nor rich. But oh, such a pleasant girl.’’ ‘‘Pleasantness’’ was the blandest possible expression of the combined mandate to repress and ultimately destroy anger and to project and ultimately feel love and concern.

Yet it was a logical blending of the religious messages of the day as well. Richard Rabinowitz’s work on the history of spirituality notes a new later-century current which blended with the earlier emphasis on virtuous routines. The earlier moralist discipline urged the establishment of regular habits and the steady attention to duty. Later in the century, religion gained a more experiential and private dimension, expressed in devotionalism. Both of these demands—for regular virtue and the experience and expression of religious joy—could provide a loftier argument for the more mundane ‘‘pleasant.’’

…The challenges of this project were particularly bracing given the acute sensitivity of the age to hypocrisy. One must not only appear happy to meet social expectations: one must feel the happiness. The origins of this insistence came not only from a demanding evangelical culture but also from a fluid social world in which con artists lurked in parlors as well as on riverboats. A young woman must be completely sincere both in her happiness and in her manners if she was not to be guilty of the corruptions of the age. One adviser noted the dilemma: ‘‘‘Mamma says I must be sincere,’ said a fine young girl, ‘and when I ask her whether I shall say to certain people, ‘‘Good morning, I am not very glad to see you,’’ she says, ‘‘My dear, you must be glad to see them, and then there will be no trouble.’’’’’

…No wonder that girls filled their journals with mantras of reassurance as they attempted to square the circle of Victorian emotional expectation. Anna Stevens included a separate list stuck between the pages of her diary. ‘‘Everything is for the best, and all things work together for good. . . . Be good and you will be happy. . . . Think twice before you speak.’’

We look upon these aphorisms as throwaways—platitudes which scarcely deserve to be preserved along with more ‘‘authentic’’ manuscript material. Yet these mottoes, preserved and written in most careful handwriting in copy books and journals, represent the straws available to girls attempting to grasp the complex and ultimately unreconcilable projects of Victorian emotional etiquette and expectation.”

- Jane H. Hunter, “Houses, Families, Rooms of One Own.” in How Young Ladies Became Girls: The Victorian Origins of American Girlhood

[papermoonloveslucy]

BYRON KANE

May 9, 1923

Byron Kane was born as Byron Harold Kaplan in St. Albans, Vermont. He served in the US Special Services during World War II. On radio, he was the droll announcer for "The Story Lady" series as  well as “Tales of the Texas Rangers.”

He made his film debut as a reporter (uncredited) in Orson Welles’ The Lady From Shanghai (1947).  The very next year he made his television debut on an episode of “Oboler Comedy Theatre.” 

He appeared on “I Love Lucy” in “Ricky Loses His Temper” (ILL S3;E19) filmed on January 21, 1954 and first aired on February 22, 1954. Kane played Morris Williams, a theatrical agent who represents Max Terhune and his pal Elmer Sneezeweed. The name Morris Williams is an inside joke based on the famous theatrical agent William Morris, who’s agency still operates today. 

Kane returned to the series during its final season for “Lucy and the Loving Cup” (ILL S6;E12) filmed on November 1, 1956 and first aired on January 7, 1957.  Kane played a commuter, getting on the subway at the Spring Street stop.

LUCY: “Pardon me, can you tell me where the stairs are?” KANE: “You’d better get off the train first!” LUCY: “I am off!” KANE: “You’re telling me!” 

He served as Blake Edwards production assistant on numerous television shows and was an associate producer for the "Peter Gunn” series (1958-61).  He also appeared on the series as Barney the Bartender in more than 40 episodes and even directed an episode. 

In February 1974, records show that Warner Brothers employed Kane for a day of work as “Narrator” on Lucy’s Mame.  As the film was already shot at the time, this was likely to narrate radio or TV ads promoting the film. 

His final screen appearance was for his friend Blake Edwards in S.O.B. in 1981 playing a funeral home owner.  He had a role in the movie Mickey and Maude but died before his scenes were filmed.

He died on April 10, 1984 at the age of 60. 

[tabloidtoc]

Closer, August 31

You can buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: Remembering TV’s Favorite Kids -- Melissa Gilbert of Little House on the Prairie, Jerry Mathers of Leave It to Beaver, Susan Olsen of The Brady Bunch 

Page 1: Contents 

Page 2: The Big Picture -- John Wayne in 1938′s Overland Stage Raiders with Max Terhune and Ray Corrigan 

Page 4: Carol Burnett -- my secret for staying strong 

Page 6: Hellos & Goodbyes, Cate Blanchett on Mrs. America 

Page 8: Picture Perfect -- Fran Drescher and her rescue dog Angel Grace 

Page 9: Patrick Dempsey and his dog, Mark Ruffalo and his cat 

Page 10: Melanie Griffith celebrates turning 63, Jamie Oliver cheers the birthday of his son River 

Page 12: Eva Longoria with her son Santiago

Page 13: Prince William and Kate Middleton enjoyed a fun day of playing games at Island Leisure Amusement Arcade, Gwyneth Paltrow and Blythe Danner and Apple Martin, Jon Bon Jovi singing into a mop 

Page 22: Cover Story -- TV’s Favorite Child Stars: Where Are They Now? -- after growing up in the limelight many found second acts in other professions -- Little House on the Prairie’s Melissa Gilbert, Bewitched’s Erin Murphy, The Partridge Family’s Jeremy Gelbwaks 

Page 23: I Love Lucy’s Keith Thibodeaux, Lassie’s Jon Provost, Leave It to Beaver’s Jerry Mathers 

Page 24: The Danny Thomas Show’s Angela Cartwright, The Addams Family’s Lisa Loring, Dennis the Menace’s Jay North, The Brady Bunch’s Susan Olsen 

Page 26: Montgomery Clift -- the untold story of Hollywood’s misunderstood star -- new details suggest that the legendary actor wasn’t really a tortured soul 

Page 31: Spot the Difference -- RHOBH’s Dorit Kemsley and her kids make a lemonade stand 

Page 33: Horoscopes -- Virgo Shania Twain turned 55 on August 28 

Page 34: Entertainment -- Tyler Perry on Madea’s Farewell Play, George Takei on his expanded memoir They Called Us Enemy, In the Spotlight -- Zachary Quinto 

Page 36: Movies -- Dev Patel on The Personal History of David Copperfield

Page 37: DVDs, Books, Music -- Katy Perry on her album Smile 

Page 38: Television 

Page 40: Great Escape -- Jon Secada on Las Vegas 

Page 44: 5 ways to reduce your risk of ovarian cancer 

Page 46: Jerry O’Connell -- the secret to his success -- the actor opens up about family and fame and his life with Rebecca Romijn 

Page 50: Meredith Vieira -- lessons from my parents -- the veteran journalist always sought ways to balance work and raising her children 

Page 52: Secrets of Sunset Boulevard -- the film’s last living star Nancy Olson recalls the making of this classic 

Page 54: John Travolta -- my life without Kelly Preston -- the actor is trying hard to live up to the promises he made to his late wife before her tragic passing 

Page 58: My Life in 10 Pictures -- Sean Penn 

Page 60: Flashback -- spotted dresses, Bill & Ted

[eyeliketwowatch]

Overland Stage Raiders - End of the Line for Louise, but John Wayne just getting started

One of the first copies of a Louise Brooks movie I was able to get my hands on after reading her biography. Her last film, on her ill-fated return to Hollywood after three superior European films, and she's relegated to doing B-westerns in supporting parts. In this one she's teamed with John Wayne, just before he hit the big time himself. The 'three mesquiteers' did a whole series of B western adventures together, and were pretty formulaic, despite being 'modern day' westerns that involved chasing down buses and cars on horseback. Pretty forgettable stuff aside from the curiosity of seeing Louise in a 40s hairdo and appearing in a 'talkie'.

1.5 stars out of 5

Released 1938, First Viewing June 1992

[undercovercowgirl]

Wonderful photo of Bob Nolan, Cindy Walker, Max Terhune, and William Boyd in the 1940s. . #bandw #blackandwhitephoto #vintagephoto #bobnolan #maxterhune #cindywalker #williamboyd #hopalongcassidy #hoppy #oldhollywood #classichollywood #vintagemoviestars #photooftheday #vintageHollywood #cowboy #cowboys #western #westerns #oldwest #1940 #1940s #film #movie #movies #photo #classicmovies #classicfilms #blackandwhite #filmposters #timeless https://www.instagram.com/p/Br_KfCmlBEG/?utm_source=ig_tumblr_share&igshid=fgxjrmibbha3

[shushmuckle]

[manualstogo]

For just $3.99 Released on April 24, 1942: The Range Busters help a local Sheriff capture bandits who are filling boot hill with bodies as they rob and cheat the townsfolk. Genre: Western Duration: 58min Director: S. Roy Luby Actors: Ray Corrigan (Marshall 'Crash' Corrigan), John 'Dusty' King ('Dusty' King), Max Terhune ('Alibi' Terhune), Jean Brooks (May Meadows), John Merton (Brand Bolton), Glenn Strange (half-loco Maverick, scarface), I. Stanford Jolley (The Mesquite Kid), Steve Clark (Sheriff Jed Tolliver), George Chesebro (henchman 'Stack' Stoner), Richard Cramer ('Corn' Hawkins, bartender), Budd Buster (Mayor Noah Smyth), Milburn Morante (Cameron), Jimmy Aubrey (town drunk), Victor Adamson (barfly), Hank Bell (stagecoach driver Hank), Bert Dillard (barfly), Jack Evans (townsman), Herman Hack (barfly), Jack Hendricks (deputy), Carl Mathews (henchman Joe), Merrill McCormick (gunman with the Mesquite Kid), Tex Palmer (henchman), 'Snub' Pollard (second bartender), Archie Ricks (saloon gambler), James Sheridan (townsman), Tom Smith (townsman with bushy moustache), Jack Tornek (townsman), Wally West (townsman), Harry Willingham (deputy Harry) *** This item will be supplied on a quality disc and will be sent in a sleeve that is designed for posting CD's DVDs *** This item will be sent by 1st class post for quick delivery. Should you not receive your item within 12 working days of making payment, please contact me so we can solve this or any other questions. Note: All my products are either my own work, licensed to me directly or supplied to me under a GPL/GNU License. No Trademarks, copyrights or rules have been violated by this item. This product complies with rules on compilations, international media, and downloadable media. All items are supplied on CD or DVD.

[michigandrifter]

Max Terhune 1891-1973

[allbestnet]

Popular Critically Acclaimed Books: [1911 - 1920]

Ethan Frome - Edith Wharton (1911)

Zuleika Dobson - Max Beerbohm (1911)

Under Western Eyes - Joseph Conrad (1911)

The Secret Garden - Frances Hodgson Burnett (1911)

The Theory of Economic Development: An Inquiry into Profits, Capital, Credit, Interest, and the Business Cycle - Joseph A. Schumpeter (1911)

My First Summer in the Sierra - John Muir (1911)

Death in Venice - Thomas Mann (1912)

Tarzan of the Apes - Edgar Rice Burroughs (1912)

The Serious Game - Hjalmar Söderberg (1912)

Riders of the Purple Sage - Zane Grey (1912)

Pygmalion - Bernard Shaw (1912)

Autobiography of an Ex-Colored Man - James Weldon Johnson (1912)

Selected Papers on Hysteria - Sigmund Freud (1912)

The Problems of Philosophy - Bertrand Russell (1912)

The Montessori Method - Maria Montessori (1912)

Home of the Blizzard - Douglas Mawson (1912)

In Search of Lost Time - Marcel Proust (1913)

Sons and Lovers - D. H. Lawrence (1913)

The Custom of the Country - Edith Wharton (1913)

Alcools - Guillaume Apollinaire (1913)

Petersburg - Andrei Bely (1913)

The Wanderer - Henri Alain-Fournier (1913)

The Warlord of Mars - Edgar Rice Burroughs (1913)

O Pioneers! - Willa Cather (1913)

My Childhood - Maxim Gorky (1913)

The Principia Mathematica - Alfred North Whitehead and Bertrand Russell (1913)

Scott's Last Expedition: The Journals - Robert Falcon Scott (1913)

Dubliners - James Joyce (1914)

The Prussian Officer - D. H. Lawrence (1914)

Kokoro - Sōseki Natsume (1914)

The Emperor of Portugallia - Selma Lagerlof (1914)

On Narcissism - Sigmund Freud (1914)

Through the Brazilian Wilderness - Theodore Roosevelt (1914)

Journal of a Trapper - Osborne Russell (1914)

The Metamorphosis - Franz Kafka (1915)

The Good Soldier - Ford Madox Ford (1915)

The Rainbow - D. H. Lawrence (1915)

The Thirty-Nine Steps - John Buchan (1915)

Of Human Bondage - W. Somerset Maugham (1915)

Rashomon and Seventeen Other Stories - Ryunosuke Akutagawa (1915)

The Scarlet Plague - Jack London (1915)

The Voyage Out - Virginia Woolf (1915)

Spoon River Anthology - Edgar Lee Masters (1915)

Instincts and Their Vicissitudes - Sigmund Freud (1915)

Collected Short Stories of Saki - Saki (1916)

The Complete Short Stories of Jack London - Jack London (1916)

Greenmantle - John Buchan (1916)

Home and the World - Rabindranath Tagore (1916)

The Mind and Society - Vilfredo Pareto (1916)

Psychology of the Unconscious - C.G. Jung (1916)

A Critique of the Theory of Evolution - Thomas Hunt Morgan (1916)

Julia Ward Howe - Laura E. Richards and Maud Howe Elliott (1916)

With Americans of Past and Present Days - Jean Jules Jusserand (1916)

A Portrait of the Artist as a Young Man - James Joyce (1917)

Poems by Machado - Antonio Machado (1917)

The Shadow Line - Joseph Conrad (1917)

Prufrock and Other Observations - T.S. Eliot (1917)

His Family - Ernest Poole (1917)

Relativity - Albert Einstein (1917)

On Growth and Form - D'Arcy Wentworth Thompson (1917)

Study of Organic Inferiority and Its Physical Compensation: A Contribution to Clinical Medicine - Alfred Adler (1917)

In the Land of White Death - Valerian Albanov (1917)

Benjamin Franklin, Self-Revealed - William Cabell Bruce (1917)

My Antonia - Willa Cather (1918)

Diary of a Madman and Other Stories - Xun Lu (1918)

Calligrammes - Guillaume Apollinaire (1918)

Indian Summer of a Forsyte - John Galsworthy (1918)

The Loyal Subject - Heinrich Mann (1918)

The Magnificent Ambersons - Booth Tarkington (1918)

The Elements of Style - William Strunk, Jr and E. B. White (1918)

The Education of Henry Adams - Henry Adams (1918)

Eminent Victorians - Lytton Strachey (1918)

Mont-Saint-Michel and Chartres - Henry Adams (1918)

Decline of the West - Oswald Spengler (1918)

A History of the Civil War - James Ford Rhodes (1918)

Winesburg, Ohio - Sherwood Anderson (1919)

Lad: a Dog - Albert Payson Terhune (1919)

Demian - Hermann Hesse (1919)

The Waning of the Middle Ages - Johan Huizinga (1919)

Prejudices - H. L. Mencken (1919)

The American Language - H. L. Mencken (1919)

Ten Days That Shook the World - John Reed (1919)

South - Ernest Shackleton (1919)

The Life of John Marshall - Albert J. Beveridge (1919)

The Age of Innocence - Edith Wharton (1920)

Women in Love - D. H. Lawrence (1920)

Main Street - Sinclair Lewis (1920)

In Chancery - John Galsworthy (1920)

Awakening - John Galsworthy (1920)

The Poems of Wilfred Owen - Wilfred Owen (1920)

Kristin Lavransdatter - Sigrid Undset (1920)

Growth of the Soil - Knut Hamsun (1920)

Cheri - Colette (1920)

This Side of Paradise - F. Scott Fitzgerald (1920)

The Frontier in American History - Frederick Jackson Turner (1920)

Beyond the Pleasure Principle - Sigmund Freud (1920)

The War with Mexico - Justin H. Smith (1920)

[papermoonloveslucy]

“I Love Lucy” ~ Season 3

A handy dandy guide to helping you find your favorite episode blogs here at Papermoon Loves Lucy. Click on the hyperlinks to be taken directly to that episode’s trivia, background, and bloopers!

“Ricky’s Life Story” (S3;E1) ~ October 5, 1953

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed May 15, 1953 at General Service Studios. Rating: 62.6/85

“The Girls Go Into Business” (S3;E2) ~ October 12, 1953

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed September 11, 1953 at Ren-Mar Studios. Rating: 56.2/79

“Lucy and Ethel Buy the Same Dress” (S3;E3) ~ October 19, 1953

Directed by William Asher.  Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed September 17, 1953 at Ren-Mar Studios.Rating: 57.3/80

“Equal Rights” (S3;E4) ~ October 26, 1953

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed September 24, 1953 at Ren-Mar Studios. Rating: 60.2/84

“Baby Pictures” (S3;E5) ~ November 2, 1953

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed October 1, 1953 at Ren-Mar Studios.  Rating: 61.4/82

“Lucy Tells the Truth” (S3;E6) ~ November 9, 1953

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed October 8, 1953 at Ren-Mar Studios. Rating: 61.4/84

“The French Revue” (S3;E7) ~ November 16, 1953

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed October 15, 1953 at Ren-Mar Studios.  Rating: 60.0/81

“Redecorating the Mertzes’ Apartment” (S3;E8) ~ November 23, 1953

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed October 22, 1953 at Ren-Mar Studios. Rating: N/A

“Too Many Crooks” (S3;E9) ~ November 30, 1953

Directed by William Asher.  Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed October 29, 1953 at Ren-Mar Studios. Rating: 60.1/85

“Changing the Boys’ Wardrobe” (S3;E10) ~ December 7, 1953

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed November 5, 1953 at Ren-Mar Studios. Rating: 67.2/79

"Lucy Has Her Eyes Examined” (S3;E11) ~ December 14, 1953

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed November 12, 1953 at Ren-Mar Studios. Rating: 55.2/80

“Ricky’s Old Girlfriend” (S3;E12) ~ December 21, 1953

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed on November 19, 1953 at Ren-Mar Studios.Rating: 52.8/76 

“The Million-Dollar Idea” (S3;E13) ~ January 11, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr.  Filmed November 28, 1953 at Ren-Mar Studios. Rating: 62.7/83

“Ricky Minds the Baby” (S3;E14) ~ January 18, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed December 3, 1953 at Ren-Mar Studios. Rating: 59.4/78

“The Charm School” (S3;E15) ~ January 25, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed December 10, 1953 at Ren-Mar Studios. Rating: N/A

"Sentimental Anniversary” (S3;E16) ~ February 4, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr. Filmed December 17, 1953 at Ren-Mar Studios. Rating: 61.1/82

“Fan Magazine Interview” (S3;E17) ~ February 8, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr. Filmed on January 7, 1954 at Ren-Mar Studios. Rating: 62.4/83

“Oil Wells” (S3;E18) ~ February 15, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr. Filmed January 14, 1954 at Ren-Mar Studios.Rating: 63.9/85

“Ricky Loses His Temper” (S3;E19) ~ February 22, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed January 21, 1954 at Ren-Mar Studios. Rating: 56.8/80

“Home Movies” (S3;E20) ~ March 1, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr. Filmed on January 28, 1954 at Ren-Mar Studios. Rating: 58.5/83

“Bonus Bucks” (S3;E21) ~ March 8, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr. Filmed on February 4, 1954 at Ren-Mar Studios. Rating: 57.8/83

“Ricky’s Hawaiian Vacation” (S3;E22) ~ March 22, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr. Filmed February 11, 1954 at Ren-Mar Studios. Rating: N/A

“Lucy Is Envious” (S3;E23) ~ March 29, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr. Filmed February 16, 1954 at Ren-Mar Studio. Rating: 59.5/83

“Lucy Writes a Novel” (S3;E24) ~ April 5, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr. Filmed March 4, 1954 at Ren-Mar Studio. Rating: 51.5/75

“Lucy’s Club Dance” (S3;E25) ~ April 12, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed March 11, 1954 at Ren-Mar Studios.  Rating: 59.1/85

“The Black Wig” (S3;E26) ~ April 19, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr. Filmed March 25, 1954 at Ren-Mar Studio. Rating: 55.8/77

“The Diner” (S3;E27) ~ April 26, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr. Filmed March 18, 1954 at Ren-Mar Studios. Rating: 51.1/77

“Tennessee Ernie Visits” (S3;E28) ~ May 3, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed April 1, 1954 at Ren-Mar Studio. Rating: 57.3/80

“Tennessee Ernie Hangs On” (S3;E29) ~ May 10, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr.  Filmed April 8, 1954 at Ren-Mar Studios.  Rating: 55.6/80

“The Golf Game” (S3;E30) ~ May 17, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr.  Filmed April 15, 1954 at Ren-Mar Studio. Rating: 54.2/81

“The Sublease” (S3;E31) ~ May 24, 1954

Directed by William Asher. Written by Jess Oppenheimer, Madelyn Pugh and Bob Carroll, Jr. Filmed April 22, 1954 at Ren-Mar Studios. Rating: N/A

SEASON SUMMARY

The season ended #1 in the ratings, just as it was at the end of Season 2. The overall rating share, however, dropped from 67.3 to 58.8  

There were 31 new episodes

The highest rated episode was “Changing the Boy’s Wardrobe” (E10) with a 67.2 

The lowest rated episode was “The Diner” (E27) with a 51.1 

Recurring Characters or Actors Introduced: Michael and Joseph Mayer as Little Ricky, Tennessee Ernie Ford as Cousin Ernie, Shirley Mitchell as Marion Strong 

Recurring Characters Returning: Elizabeth Patterson as Mrs. Trumbull,  Doris Singleton as Caroline Appleby, Jerry Hausner as Jerry the Agent, Frank Nelson as Freddy Fillmore

Guest Stars Playing Themselves: Arthur ‘King Cat’ Walsh, Max Terhune, Jimmy Demaret

Guest Actors Playing Characters: Mabel Paige (Mrs. Hansen), Charles Lane (Casting Director), Frank Nelson (Dickie Davis), Natalie Schafer (Phoebe Emerson), Kathryn Card (Minnie Finch), Elvia Allman (Minnie’s Neighbor), Sunny Boyne (Minnie’s Neighbor), Joan Banks (Eleanor Harris), Sandra Gould (Nancy Johnson), Harry Cheshire (Sam Johnson), Madge Blake (Mrs. Mulford), Mary Jane Croft (Cynthia Harcourt), Herb Vigran (Al Sparks), Jay Novello (Mr. Beecher)

An average of 7,500 feet of film was shot per episode, for a total of 232,500 feet of film for season 3

Total Binge Hours for Season 3: 15.5 hours (with commercials); 12.4 hours (without commercials)

Papermoon’s Full Moon Pick: “Lucy is Envious” (E23)

Papermoon’s Half Moon Pick: “Ricky Minds the Baby” (E14)

Colorized episodes: “The Million Dollar Idea” (E13), “Bonus Bucks” (E21)

[aion-rsa]

Internet Reacts to Batman Oral Sex Ban

https://ift.tt/eA8V8J

If this post contains spoilers, I don’t know what they are.

In a surprising addition to the superhero discourse this week, fans have been taking to Twitter and other social media platforms in an effort to offer their two cents when it comes (or not) to whether Batman and other heroes perform cunnilingus.

How did this happen? Well, it all started with a fairly straightforward interview about how successful TV series like WandaVision, The Umbrella Academy, and Harley Quinn subvert the superhero genre – one that happened to produce an irresistible nugget of DC info that the internet is still very much feasting on at the time of writing.

Obviously it’s an interviewer’s dream when the person you’re quizzing dishes up some behind the scenes secrets about the making of their art, but Harley Quinn co-creator Justin Halpern probably wasn’t expecting the widespread social media reaction to this new interview, where he discussed the exact nature of DC’s limits during the shaping of their irreverent – and very adult – animated series.

“It’s incredibly gratifying and free to be using characters that are considered villains because you just have so much more leeway,” Halpern told Variety of making Harley Quinn. “A perfect example of that is in this third season of Harley [when] we had a moment where Batman was going down on Catwoman. And DC was like, ‘You can’t do that. You absolutely cannot do that.’ They’re like, ‘Heroes don’t do that.’ So, we said, ‘Are you saying heroes are just selfish lovers?’ They were like, ‘No, it’s that we sell consumer toys for heroes. It’s hard to sell a toy if Batman is also going down on someone.’”

Yes, despite the often violent nature of DC superhero media, going down on a woman is apparently over the line.

“In fairness to DC, both Halpern and [co-creator Patrick] Schumacker went on to say that the company has been remarkably supportive of their series and has allowed them to push the envelope numerous times,” added Variety. “Still, it remains to be seen if Batman and Catwoman will be shown engaging in some bedroom antics in Season 3 or if it will simply be implied via cunning linguistics.”

Though Variety was quick to add that DC had otherwise done right by the show and allowed its creators a lot of freedom in the writers’ room, Twitter was already in its element, and DC, Batman, Harley Quinn and Catwoman were all swiftly trending.

Hey, there’s no such thing as bad publicity, right?

Batman Begins but none of his ladies finish

— Malik 🎤 (@Malik4Play) June 14, 2021

a tragic hero pic.twitter.com/Qxtevn3Hwq

— 🗯 (@samthielman) June 15, 2021

Honestly, it's just nice to know that I'm better than Batman at something

— Mike Drucker (@MikeDrucker) June 15, 2021

Explain this DC #Batman pic.twitter.com/Vuy0l3FvnA

— Hot Wall Summer (@therealbigWALL) June 15, 2021

Meanwhile Spider-Man is up for anything. pic.twitter.com/6VMYKMcBKR

— Benjamin Siemon (@BenjaminJS) June 14, 2021

i feel like if prince knew that batman didn't eat pussy he wouldn't have done the song

— Kath Barbadoro (@kathbarbadoro) June 15, 2021

Joker: “And where is the Batman?!” Catwoman: “I can tell you where he’s not.”

— Eric Goldman (@TheEricGoldman) June 15, 2021

Thomas and Martha Wayne in heaven watching us discuss Batman performing oral sex pic.twitter.com/BPo20DRBJp

— Advit² (@AdvitTheFourth) June 15, 2021

Batman: “All this talk of- pardon my vernacular, Robin- eating pussy feels like a diabolical scheme.” Robin: “Wait… cunniligus… cunning linguist… The Riddler!” Batman: “Excellent deduction, chum. We must stop him before his twisted tongue can take a victory lap on Gotham!” pic.twitter.com/eKyxJM4X1O

— David Bednar (@ykarps) June 15, 2021

Me Getting ready to explain the batman oral sex discourse to my partner. pic.twitter.com/bOx2e36JU3

— Canti 🏳️‍🌈 (He/Him) (@CantiUnplugged) June 15, 2021

Looks like Batman is moving down in the ranks. pic.twitter.com/cFLSt0RuU3

— Nicholas Raven Mueller is Demon Hunter Raven (@nicholasmuelle7) June 15, 2021

pic.twitter.com/xWQXqzJaqb

— DaViD (@FakeEyes22) June 15, 2021

If Batman doesn’t eat pussy then wtf are these handles for??? pic.twitter.com/yTeZZ2aHFo

— 𝕻𝖗𝖎𝖓𝖈𝖊 𝕻𝖍𝖎𝖑𝖎𝖕 (@papasombra) June 15, 2021

Batman: I don’t go down. Joker: pic.twitter.com/kiDsurxXEC

— Brent Terhune (@BrentTerhune) June 15, 2021

Me: God damnit, that's it, I'm done with twitter. Also me, on Does Batman Eat Pussy Day: pic.twitter.com/j9WVeBGYrg

— C. Robert Cargill (@Massawyrm) June 15, 2021

Yes I saw today’s batman discourse and yes I love it. But please respect my family’s privacy during this time.

— Chip Zdarsky (@zdarsky) June 15, 2021

Gotham ladies feeling blue because Batman won't eat, call Batwoman.

— Denimcatfish 🏳️‍🌈 (@denimcatfish) June 15, 2021

All I'm gonna say on the Batman thing is that I am glad it is drawing attention to the best thing in the DC Universe everyone should watch, Harley Quinn …which is allowed jokes like this, but not the other thing pic.twitter.com/7oPJp0w6Yp

— Paul Tassi (@PaulTassi) June 15, 2021

It is indeed a magnificent series. Please consider checking it out if you haven’t gotten around to it yet!

Harley Quinn features a terrific voice cast that includes Kaley Cuoco, Lake Bell, Alan Tudyk, Tony Hale, Ron Funches, Jason Alexander and J. B. Smoove. Season 3 will be heading to HBO Max soon.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The post Internet Reacts to Batman Oral Sex Ban appeared first on Den of Geek.

from Den of Geek https://ift.tt/3iHgbSN

[fullspectrum-cbd-oil]

New York Veterans Hospital, Struggling With Coronavirus Outbreak, Asked to Help Civilians

The Department of Veterans Affairs is struggling to provide enough staffing and equipment for former vets hospitalized with the coronavirus illness in New York City, nursing union representatives say, yet some lawmakers are pressing the agency to treat civilians as well.

New York state has become the epicenter of the U.S. coronavirus epidemic with more than 37,000 cases and 385 deaths, sending local and state leaders scrambling to increase hospital capacity.

The VA has a legal mandate to provide civilian care in an emergency. But the agency is facing the same surge in COVID-19 patients as other hospitals throughout New York, raising serious questions about whether it can expand it services, said Corey Lanham, VA Division Director for National Nurses United (NNU).

“I don’t know where the staff to cover all these patients is going to come from, and I don’t think they know either,” Lanham said.

The Trump administration has pledged to send a 1,000-bed Navy hospital ship to the city, and construct military field hospitals. But the ship and makeshift hospitals will not be ready for some time and the infection rate in New York is accelerating fast. New York Governor Andrew Cuomo has said the state needs tens of thousands more ventilators than it currently has, among other shortages.

All U.S. veterans in the city’s five boroughs who need inpatient hospital treatment are being routed to the Veterans Affairs Medical Center in Brooklyn.

NNU represents 270 registered nurses at the Brooklyn facility. At least three have tested positive for the virus and are quarantined, the union said. One licensed practical nurse, who assist RNs, has also been infected with the highly contagious respiratory illness.

Two doctors there also tested positive and were quarantined, the VA told the Military Times newspaper. VA spokesman Steve Piork did not say whether additional staff are quarantined due to contact with infected doctors and nurses.

A shortage of protective equipment is further exacerbating the risk to healthcare workers on the front lines of the pandemic.

Maria Lobifaro, a New York intensive care unit (ICU) nurse treating veterans with COVID-19, said they normally change masks after every patient interaction. Now, they are getting one surgical mask to use for an entire 12-hour shift. The ratio of patients to nurses in the ICU is usually two-to-one. As of Monday it was already four-to-one, she said.

“Right now we can barely handle the veterans that we have,” Lobifaro added.

‘A MATTER OF WHEN, NOT IF’

Piork said earlier this week that the New York VA system stands ready to “surge capabilities into civilian health care systems in the event those systems encounter capacity issues.”

The VA did not answer questions about its current capacity in Brooklyn, including how many ICU beds were filled or available.

The VA operated 517 total hospital beds at facilities in the New York City boroughs of Brooklyn, Manhattan and Queens in fiscal year 2014, according to federal data. The Brooklyn facility contains about 150 of them.

The VA did not respond when asked if its other facilities in New York would be prepared to handle civilian COVID-19 patients.

New York Congressman Max Rose, a Democrat whose district includes the Brooklyn facility, wrote to VA Secretary Robert Wilkie on Monday asking that a mobile hospital unit be set up in the VA Medical Center’s parking lot to handle civilians. He said expanding VA care to civilians “seems more a matter of when, not if.”

“My office has learned that there is limited capacity for additional COVID-19-positive patients at the Brooklyn VAMC,” he wrote, “and absent an increase in staff, ventilators, and other equipment, the facility is unable to scale up.”

The VA’s mission is to provide healthcare and benefits to veterans, and run the national cemeteries. In 1982, Congress authorized a so-called fourth mission to support the nation in the event of a disaster or pandemic.

Earlier this month, Wilkie said in a White House press briefing that the VA was a “buttress force,” ready to aid the Federal Emergency Management Agency (FEMA) or the Department of Health and Human Services if needed.

“We stand ready when the President needs us to expand our mission,” Wilkie said.

James Fitzgerald, deputy director of the New York City Veterans Alliance, said veterans are particularly susceptible to upper respiratory conditions.

The positive test results among Brooklyn staff underscore the need for the VA to be transparent about its capacity, staffing, and steps to protect doctors and nurses.

“The veterans’ community deserves more,” Fitzgerald said.

Amid the frenzy of activity at the VA this week, Lobifaro described a “weird energy” pervading the ICU unit driven by uncertainty.

“These patients are so sick and require so much care,” she said. “One minute they can seem fine, and the next minute they’re on a ventilator.”

(Reporting by Dan Levine in Oakland California and Robin Respaut in San Francisco; Additional reporting by Chad Terhune in Los Angeles; Editing by Bill Berkrot)

from IJR https://ift.tt/2wJvzIG via IFTTT