#cord roberts

[laboulaie]

BAD NEWS BLAIR

She May Be Llanview’s Resident Bad Girl, But ONE LIFE TO LIVE’s Blair Just Wants To Be Loved

In 1991, a conniving woman by the name of Blair Daimler (now Cramer) blew into Llanview. Mia Korf originated the role but when the Amerasian left the show in 1993, blonde-haired, green-eyed Kassie DePaiva took over. “Blair is perfectly dysfunctional,” laughs DePaiva. “She feels everything deeply, whether it’s happiness, anger, lust, jealousy, fear… I love that she’s a bitch with a lot of heart.” Here, in character, DePaiva remembers the ups and (mostly) downs of Blair’s life.

1993

“Viki and Sloan hunted me down because they needed me to verify something for his book on Victor Lord - they wanted to know if Dorian had admitted killing Victor,” recalls DePaiva. “They found me down in Miami with my boys.” Blair had kids? “I was hanging out with some young boy toys,” she laughs.

1994

As soon as Blair returned to Llanview, she began blackmailing Dorian (again) and hitting on Max (again). “I pursued Max in every way I could,” she grins.

Around this time, The Wild Rose Club casino opened, and Max became addicted to gambling. While Cord and Luna tried to break his bad habit, Blair encouraged it. “It was a way for me to spend time with him,” she explains. “Max was addicted to gambling and I was addicted to him.” One night, Luna kicked Max out. Feeling rejected, Max turned to Blair. “We went to Atlantic City and hooked up with RJ, who was a loan shark,” she explains. “Everything tailspinned from there. I became more obsessive and possessive as Max’s gambling addiction became worse.”

After their escapade, Max took his son, Al, to his ranch in Texas and Blair tagged along. But soon after, Luna arrived to patch things up. Cord kidnapped Blair and took her to Asa’s nearby ranch so that his friends could reconcile. With Blair out of the picture, Max, Luna and Al went to the local fair, but Blair escaped from Cord and took off in his truck. “I was driving to the fair to find Max,” explains the actress. “I swerved to miss Al and accidentally hit Luna instead.” Luna was paralyzed and Max broke things off with a distraught Blair.

“I attempted suicide by turning up the gas stove in my apartment,” she explains. Luckily, Cord found her passed out and stood by her while she recovered. “I finally realized that I was addicted to Max and started up a relationship with Cord because he was nice and safe.” Unfortunately, Blair found herself playing second fiddle to Tina and finally got fed up. “Around this time, I ran into Todd at Rodi’s,” she remembers. “Initially, I didn’t know who he was. We commiserated about what losers we were.”

That is, until Blair dropped her purse and spotted the prison I.D. bracelet that Todd was wearing around his ankle. “At that point, I thought, ‘Stay away from me.’” But the two lost souls kept running into one another, and Blair finally realized that Cord was never going to put her first. “On Christmas, I went over to Todd’s and offered myself to him as a Christmas gift,” she chuckles. The couple had sex and it was the beginning of what seemed to be a beautiful relationship.

1995

When Blair figured out that Todd was the heir to the Lord fortune, the money-hungry vixen set out to land him. “I tricked Todd into getting married by faking a pregnancy,” she admits. The couple wed on a beach in Key West.

Several weeks after the nuptials, Tina revealed to Todd that he was her brother and Todd inherited 27.8 million. “After Tina warned Todd that I was a gold digger, he made me take a pregnancy test,” the actress says. “I thought for sure I wasn’t pregnant but I was. It was hilarious!”

Sadly, when Blair was mugged a few weeks later, she lost the baby. “Those were really tough scenes,” DePaiva reveals. “Blair wanted a baby; so did Todd. It was the first thing that she would have had on her own.”

When Max informed Todd that Blair had originally lied about being pregnant, Todd lost it. “He almost raped me,” says DePaiva. Blair stopped Todd by reminding him of his past rape of Marty but the marriage was over. “We had lost the baby and that was a reason for us not to be together.” Todd filed for a divorce.

But Blair soon discovered that she was pregnant - again. “Everybody thought I was lying this time for sure,” laughs DePaiva. “But I really was pregnant. I contemplated not having the baby, until it brought Todd and me back together.” The couple remarried at St. James church. “We were really, really happy,” she smiles. Before they could go on a honeymoon, Todd decided that he wanted to make amends with Marty and flew to Ireland. “It was always about Marty,” DePaiva sighs. “I thought the only reason that Todd loved me was because I looked like her.” In Ireland, Todd was mistaken for Patrick, shot and presumed dead. A bitter Blair blamed Marty for Todd’s “death.”

1996

Luckily, baby Starr filled the void in Blair’s life. After a run-in with Marty, an enraged Blair cut off her hair (because she didn’t want to look like Marty), then went into labor - but gave birth prematurely.

Soon afterward, Blair began chasing Patrick. “Marty took my man away so I wanted to take away hers,” she says. “At first, I just wanted to get back at Marty. Then, I really started to like Patrick.” When Blair finally got the poet to sleep with her, Todd “returned from the dead” and spied their sexual encounter. Figuring that Blair never mourned his death, Todd kidnapped Starr. Eventually, he returned the baby, and Blair and Todd were about to reconcile. But Blair learned that she was pregnant - yet again - this time, with Patrick’s child. “That ruined everything,” the actress groans.

1997

Blair and Todd remained at odds. Though Todd filed for custody of Starr, the judge awarded temporary custody to Blair. Starr became ill with aplastic anemia and was in desperate need of a bone marrow transplant. Of course, Starr’s best bone marrow match would have been Blair and Patrick’s unborn child.

“Then we had the car accident,” says DePaiva. On a rainy night, Blair and Patrick were on their way home from the hospital when a sobbing Kelly (who had just been dumped by Joey) ran their car off the road. “I lost the baby and thought I had lost Starr too because of the accident. Those scenes were very difficult because I was pregnant in real life,” she confides. “Looking back, I wish I’d never had to play it.” After the accident, Alex donated bone marrow to save Starr’s life. Meanwhile, Blair was hospitalized.

“I was in a coma and Todd hooked up with Téa to betray me yet again!” she exclaims. “While I was in a coma, he divorced me and took custody of my daughter.” But Blair fought back and after a speedy recovery, vowed to win Starr. Unfortunately, on the night before the custody hearing, something went terribly wrong. “Téa provoked me to the point that I pushed her out a window so I lost custody because of that,” DePaiva says.

1998

Mel and Cassie began looking into the Cramer family’s history of mental illness. DePaiva notes that Blair and her mentally ill mother, Addie, have a very loving relationship. “Starr and Addie are the two people who Blair would do anything for.”

While working to sink her claws into billionaire Ian Armitage - she thought his money would help in her fight to win Starr back - Blair hooked up with Max as part of a plan to double-cross Todd and give Ian control of The Sun. “My relationship with Max since then has continued as a love-hate relationship,” explains DePaiva, adding that she loves working with her real life hubby.

Blair also found herself working with Todd again when he re-hired her as a reporter for The Sun. “I think the Todd/Blair relationship is my favorite storyline because it’s so multifaceted,” she says.

Slowly, Blair and Max started to fall in love again, until she discovered that Max was working for Asa and using her to obtain incriminating information about Todd. Max apologized profusely and even proposed, but Sam entered the picture. “I just want to be loved - but honestly!” DePaiva cries, in character.

Today, Blair is torn between two men: she cares for Sam but is being blackmailed by Max, who knows that Blair knows Todd is faking his alternate personalities. And if the truth comes out about Todd, Starr will lose her father because Todd will be sent to jail. “I think Blair wants to choose the high road, but I don’t think she’ll ever be able to do it,” says DePaiva. “Blair will probably be the ultimate loser and get screwed over like she always does.”

Soap Opera Digest (1998)

[thecoltist]

REPOST: another drawing i didnt post before hand

part of an art trade with @robertarthurhawkins

[sacredwhores]

Robert Hossein - Cemetery Without Crosses (1969)

[ljblueteak]

Richard Hamilton Swingeing London 67 poster and Beatles 68 poster

Text from Andrew Wilson's Swingeing London 67

The [Beatles] poster, described by Hamilton as a 'give-away' print, was the result of a fairly complex design process that took about two weeks to complete, with daily visits from Paul McCartney, the one Beatle who worked directly with Hamilton on the project and who had prior knowledge, through[Robert] Fraser, of Hamilton's work--he had earlier bought one of the Solomon R. Guggenheim (1965) screenprints from the 1966 exhibition of the series that he had helped hang.

This relationship gave Hamilton the freedom to develop his idea for the poster and the whole design project without interference from the other band members, Yoko Ono, or the record company.

The poster shows George Harrison, John Lennon, McCartney and Ringo Starr as distinct individuals. This is in sharp contrast to the individual John Kelly portraits, in which the similarities of pose, gaze, and lighting, conforming to the aesthetics of of a record company's publicity department, portray them as members of a band.

The seemingly casual pinboard aesthetic by which these informal photographs were arranged was determined primarily as a solution to crucial design issues (echoing his decision to order the collage for Swingeing London 67--poster as newspaper columns, with headline at top left).

The sheet had to be folded three times in order to be inserted into the square album sleeve, and this obliged Hamilton to approach it as 'a series of subsidiary compositions. The top right and left-hand square are front and back of the folder and and had to independently stand as well as be a double spread together. The bottom four squares can be read independently and as a group of four. They all mate together when opened up and used as wall decoration.'

The top left-hand panel is what is seen first, and it presents the songwriting duo of Lennon and McCartney. Lennon is shown in blue light, singing. The image has probably been taken from a television screen, and the attendant distortion and blue glow are unflattering.

The image of Lennon overlays the bottom right corner of an equally unusual portrait of McCartney in a bathtub, his head half submerged, soapy suds giving him a halo. Running beneath the two portraits is a fabricated contact strip that includes an image of Lennon in front of one of his wall drawings; the band in a recording session...in which they are, unusually, playing brass instruments; and a colour image from the recording of 'Hey Jude' (1968).

This sense of fragmentation, of hidden codes and messages, echoes both the 'guarded privacy and locked rooms' and the 'disturbing, dreamlike darkness' that have been identified in the album, inviting the fan to imagine the band members' private worlds, and hinting at the beginning of the band's disintegration.

The dominant image of the poster's top right panel, opposite Lennon and McCartney, is of George Harrison. This portrait casts him in a mystical, otherworldly and contemplative light, with the right side of his face obscured and out of focus....

There are very few collective photographs of the band: playing in recording sessions or in filmed concerts; with Harold Wilson after they had each received the MBE; and a sequence of them doing the 'business' as they re-sign their contract with EMI.

Instead, the poster emphasizes the individual activities of John, Paul, George and Ringo around the time of the collage. Starr is shown with his co-star from the film Candy (1968), Ewa Aulin, and also dancing with Liz Taylor (wife of his other co-star in the film, Richard Burton). Lennon is shown becoming the working-class hero. Yoko Ono appears just twice: in a self-portrait by Lennon of the naked couple, and in an image of a naked Lennon sitting cross-legged in bed talking on the phone, as its stretched cord cuts her out-of-focus head in two--cancelling her identity.

Of the band, it is McCartney who emerges as the poster's dominant figure. Hamilton has said how The Beatles contains 'arcane touches which only The Beatles' more intimate associates were likely to smile at,' and yet such details--such as the doubled image of a shut door or McCartney 'pole dancing' both naked and clothed--are not at the cost of the poster's legibility. At its centre is the reverse of a photograph, a gift to one of the band, bearing a lipstick imprint and a groupie's imploring words: 'I love you.'

In all this, Hamilton's fundamental aim for The Beatles was that it should reach a large audience and be as accessible as the cover design was remote. This was not a new subject for Hamilton. My Marilyn had already adopted, three years earlier, the motif of the publicity photograph and the manipulation of celebrity image as a subject. What is different here is Hamilton's direct participation in popular culture: The Beatles, like Swingeing London 67--poster, shows him not only constructing work with a subject that revolves around the manipulation and production of pop celebrity imagery, but also inserting these works into the mass circulation of popular culture.

--Andrew Wilson. Bold mine.

[thoughtportal]

[contremineur]

Boswell’s only note after an evening with Dr Johnson Nothing about the food, the wine, the subjects of that night’s passions. Nothing even about the weather—rain most likely, the damp seeping under doors. Just those two words for a night when everything else slipped into the vacancies of the unrecorded. That’s all that’s left. We know now the more complete story that Boswell chose not to tell: the good doctor’s wearied martyr’s gaze as he walked the alleyways where the poor remained poor, the blind, blind, where the only lesson learned from suffering was how much better it would be not to suffer. We know, too, that Johnson wanted about this time to rest in God and yet could not imagine how to surrender himself to a future he couldn’t anticipate; he couldn’t help but believe, to his dismay, that all life needed to go wrong was the hope it would go right. Too many could not see how evil fouled the gears of the century’s benign God. He was headed for another breakdown; Mrs Thrale had already been secretly entrusted with a padlock and chain to restrain his fits when the time came. But on this particular evening, happiness must have arrived when he least expected it. A few hours when everyone’s burdens were shouldered, when there was no tomorrow sprouting its thousand forms of grief and humiliation and defeat. Just jokes and small talk, and wine sweetened with oranges and sugar tumbling down the doctor’s throat. A night, perhaps, when all the timorous and beaten faces suddenly brightened in their common temple of laughter. A night when even a stray black dog might have been allowed to lick clean a patron’s greasy hands and warm its flea-bitten belly near the fire. A night caught in the genius and irony of Boswell’s two words—what they left unsaid and what they say, the simple phrase like a pardon after our sins have been listened to one by one, and there is nothing left to remember but ‘much laughter’ after another day on earth is done.

Robert Cording, Much laughter (in ‘Common Life: Poems’, CavanKerry Press 2006)

[another-little-hippie]

not me getting stoned and then bawling my eyes out while watching the gladsaxe teen club performance because nobody was “rocking out” for them and they were working so hard… i told my boyfriend that i need to be there, “i would rock out for them!”

[noleavestoblow]

"I'd like to say I'm getting by and getting on with life, but the latter is a stretch. A tapeworm of grief has been eating my insides, …"

― Robert Cording

[chicinsilk]

US Vogue July 1986

Monika Schnarre wears a long wool jersey dress (Jasco), by Michael Kors. toque, Patricia Underwood, boots, Donna Karan. Belt used as a collar, Robert Lee Morris, belt, Barry Kieselstein-Cord. Hairdressing, Madeleine Cofano for Bruno Dessange; makeup, Lydia Snyder.

Monika Schnarre porte une robe longue en jersey de laine (Jasco), par Michael Kors. toque, Patricia Underwood, boots, Donna Karan. Ceinture utilisée comme collier, Robert Lee Morris, ceinture, Barry Kieselstein-Cord. Coiffure, Madeleine Cofano pour Bruno Dessange ; maquillage, Lydia Snyder.

Photo Bill King vogue archive

[loudlylovingreview]

Robert Cording: An Unasked for Inauguration Prayer, 2025

Lord of the light that revealshow we have failed and failed againthe one requirement asked of us—to love one another. Lord of our freedomand our freedom to abuse being free,our never-ceasing need for endless rightswithout ever recognizing,as your prophet Weil has pleaded, our inherent obligations to one another. Lord who lives with us in the bloody mess of history tattooed with the timelineof our…

[aigle-suisse]

[laboulaie]

Daytime’s 10 Hottest Women

Kassie Wesley (Blair, OLTL)

“I consider myself a country girl,” proclaims Kassie Wesley (Blair). “I don’t feel sexy. If somebody thinks I’m sexy, I think that’s a hoot,” she laughs. “Sexy is a perception from people on the outside. But feeling sexual or sensuous is something that I do feel.” Costar John Loprieno (Cord) is happy to be one of those someone’s on the outside. “Obviously, the package she comes in is great!” he exclaims, “but I think a lot of it, for me, has always been her personality. I think her personality is what she brings to Blair too,” he adds. “She’s got that ‘I want to do good and fit in’ inside. Kassie has that energy, that desire to be in the game, to make a difference. I think that’s what’s appealing about her - what I’ve always found attractive and sexy about her.”

(Soap Opera Magazine, 1996)

[feedbaylenny]

Follow-up Friday: Senior driver faces 2 new criminal traffic charges after serving time for DUI crash, probation violations

OCALA, Fla. – The trouble keeps adding up for an elderly driver who served a jail sentence for DUI with property damage, and another for probation violations. Robert Arthur Cordes, 93 then and 94 now, hit another car in the parking lot of a Burger King in Florida, back on May 23, 2024. “When speaking with him, I could smell the odor of alcohol emitting from Cordes,” a cop at the scene…

[ultimate-healing-blog]

Robert F. Kennedy Jr. and His Battle with Spasmodic Dysphonia

If you’ve tuned into any of Robert F. Kennedy Jr.’s public engagements, you might have noticed a peculiar quiver in his voice. This characteristic is attributed to a rare neurological disorder called spasmodic dysphonia, which Kennedy has been living with for many years. “I experience a tremor in my voice, especially when I begin speaking,” Kennedy shared during an interview on The Diane Rehm…

CLICK PICTURE TO READ FULL ARTICLE

[duranduratulsa]

Now showing on DuranDuranTulsa's Television 📺 Showcase...Freddy's Nightmares: Memory Overload (1989) on classic DVD 📀! #tv #television #horror #freddysnightmares #anightmareonelmstreet #wescraven #RIPWesCraven #freddy #freddykrueger #robertenglund #memoryoverload #KyleChandler #AlexCord #karenlandry #AndrewPrine #ripandrewprine #eileenseeley #80s #DVD #durandurantulsa #durandurantulsastelevisionshowcase

[contremineur]

There’s a chair in the snow-covered field where I left it, and you, dead now a year, are sitting in it, looking at three crows, their black nearly burning in the morning sun. Thanks for the chair, you say when I make some crack about where will the dead turn up next, unsurprised by your being here. I left it just for you, I say, and maybe I did. And maybe you’re here because I cannot stop loving you, and maybe this is all a dream, but I don’t want to wake up before you answer all those questions I have— not so much about the afterlife, but about the unfairness of things here, in particular who suffers and why, and maybe something about God’s silence—but already you’ve put your fingers to your lips, still looking at the crows, at home in the cold, a little cape of snow warming you. I keep chattering away about the shitty state of the world, listing my complaints as if you were a messenger between my world and the next. But snow is falling through me, as if I were suddenly porous and every boundary had been removed, and I am shining in the light it makes. When I look to you, you are gone and I have not said how much I’ve missed you, nor how, at times, I’ve prayed to you. And whatever peace you brought is interrupted now by fears—how dwarfed I am by the field and the sky filling the empty chair with snow. Then my waking sense of everything missed, and missing again.

Robert Cording, The chair (in ‘Walking with Ruskin: Poems’, CavanKerry Press 2010)