#harry maslin

[twiggalina-the2nd]

[mitjalovse]

My discussions on Bowie's late 70's should have taken a different road. Yes, I should've considered Young Americans as his dividing line – we are jumping back in time –, since that album showed Bowie to be an intriguing figure. He decide to forsake his glam for soul and he didn't do that bad, to be honest. Sure, he defended himself by calling his style plastic soul – he was very much aware of his position and him playing that brand –, though he did work with many who were cognizant of the style, so he didn't look like a dilletante. He also somehow managed to include John Lennon for some reason as you can hear on the link. Speaking of the tune there – man, what a glorious groove that piece has and I regret rarely tackled the similar style later on.

[starlingflight]

Chapter 3 of Wayfinding is called Homecoming & it features the return of everyone's bestie, Maslin.

[cinema-tv-etc]

The Truman Show 1998

He's the star of the show - but he doesn't know it! Jim Carey plays unwitting Truman Burbank, an ordinary man in a not-so-ordinary life. From the time he was born to the present, Truman's entire life has been broadcast live on national TV. Truman doesn't realize that his quaint hometown is actually a giant studio set - big enough to be seen from space - and that the folks living and working there are Hollywood actors. Even Truman's incessantly bubbly wife is a contract player. Gradually, Truman gets wise. And what he does about his discovery will have you laughing, crying and cheering as he finds his way to the truth.

Awards

1998: 3 Nominations for Oscar: Best Director (Peter Weir), Supporting Actor, Screenplay

1998: 3 Golden Globes: Actor Drama (Carrey), Supporting Actor and OST. 6 Nominations

1998: 3 BAFTA Awards: Best Director, Production Design and Original Screenplay. 7 Nom.

1998: National Board of Review: Supporting Actor (Ed Harris)

1998: Los Angeles Film Critics Association: Nominated for Best Production Design

1998: Critics' Choice Awards: Nominated for Best Film

Critics' reviews

"The underlying ideas made the movie more than just entertainment (…) It brings into focus the new values that technology is forcing on humanity (…) Rating: ★★★★ (out of 4)" Roger Ebert: rogerebert.com

"It's a satire/comedy/fantasy about the future of television and the people caught in its omnipresent electronic net (…) Rating: ★★★★ (out of 4)" Michael Wilmington: Chicago Tribune

"This is a film that can stay with one for a very long time, and even slightly change the way one looks at life and the world." Tom Keogh: Seattle Times

"Pretends to be daring while parroting what much of the TV industry already thinks about itself and its audience. But it's still pretty much fun to watch." Jonathan Rosenbaum: Chicago Reader

"A beautifully sinister and transfixing entertainment (…) Carrey turns Truman into a postmodern Capra hero." Owen Gleiberman: Entertainment Weekly

"One of the smartest, most inventive movies in memory, it manages to be as endearing as it is provocative." Rita Kempley: The Washington Post

"Jim Carrey's instantly iconic performance as the sweet, unsuspecting Truman will give his career deserved new impetus, but the real star of 'The Truman Show' is its premise." Janet Maslin: The New York Times

[mymelodic-chapel]

David Bowie- Station to Station (Art Rock, Funk Rock) Released: January 23, 1976 [RCA Victor Records] Producer(s): David Bowie, Harry Maslin

[docnad]

Round-Up drawings July 29, 2023 & December 18, 2018 by Michael Maslin

Weekend Spill: Barbara Shermund Exhibit Opens…Liza Donnelly To Speak; The Tilley Watch Online, July 24-28, 2023; A Round-Up; Book On The Horizon From Sid Harris #Inkspill https://michaelmaslin.com/weekend-spill-barbara-shermund-exhibit-opens-liza-donnelly-to-speak-the-tilley-watch-online-july-24-28-2023-a-round-up-book-on-the-horizon-from-sid-harris/ #MichaelMaslin

[nofatclips]

Station To Station by David Bowie from the movie Christiane F. – Wir Kinder vom Bahnhof Zoo, directed by Ulrich Edel

[onlydavidbowie]

David Bowie and Harry Maslin in the studio working on Station To Station by Geoff McCormack

[bearwildered]

Watch "David Bowie - Fame 90 (Official Video)" on YouTube

[twiggalina-the2nd]

[mitjalovse]

The 70's contained more multitudes than one can assume from all the Rolling Stone rock history books of the period, yet there has to be a figure that exemplified them the most. Well, Bowie is your man for that, of course. To be honest, the 70's made him despite his opus not being tied to one sound of the era. He actually went through most of them, but there was a dividing line in the form of Station To Station asthis platter transformed him into the Bowie. Surprisingly, one must add, since the disc locates him losing his mind and partying, since one could call this a post-fame album without the self-loathing. The tunes consider him fine, if you only pay attention to the surface, because below them lies a man on the edge of a complete breakdown.

[starlingflight]

It appears I am not ready to leave Astoria Greengrass behind (I am narcissus drowning in a lake of my own creation).

So, if you are interested in Homcoming missing moments/alternate POVs please subscribe to 'the array' on AO3. I'm not going to post on here every time I update bc that's too much self-indulgence even for me.

That being said, here's a Maslin Bulstrode POV no one asked for (actually one person did, and I will love them forever):

[thepanicoffice]

Half Crown Piece

[...]

I myself have, on occasion, been a member of several of the great European Royal Families [1]. I weave myself into them quietly, like hereditary susceptibility to gout, and then disappear without warning, like embezzled charitable donations.

And yet, there is more – a great deal more – that qualifies me to opine, with the zest of a gossipy courtier, on the travails of our much-maligned monarchy.

Indeed, at first glance, there is much that unites me with the Duchess of Sussex: I have had a moderately successful acting career stymied by a torrid love affair with a troubled redhead [2], have a publicly venomous relationship with my father that has played out on the front pages of the gutter press [3], and (I assume) we have both secretly urinated in the vestry at St George’s Chapel in Windsor before a major event was due to take place.

Yet despite these almost eerie similarities, I’m afraid I am at a loss to understand the Duchess’s mindset and the Sussexes’ candid and inexcusably American interview.

Like her, I have had my share of unpleasant skirmishes with the media. I too know the sting of being outrageously accused by spiteful commentators of ‘not being black enough to have experienced racism’. However, unlike Meghan, I managed to rise above it and, with dignity, continued to deliver my impromptu speech at the MOBO Awards.

In fact, I have relished the ongoing war of words (and, briefly, before I saw sense, letter bombs) between myself and that shrill costermonger of pungent, overripe opinions, Piers Morgan. Having spent much of the early 2000s leaving messages on my own voicemail calling him an elaborate mutton-sculpture in the hope that they would eventually find their way back to his hot, puce little ears, I simply cannot understand the Duchess’s reticence to exchange insults with a man with such a hefty trade deficit.

The enmity of Piers Morgan is a gift to be treasured. If they did it in vouchers, I’d give them to my dearest relations [4] for every birthday and Christmas.

The point I am getting at here is that, with time and the patient support of the ermine-swaddled nucleus of the Royal Family, the Duchess could have learned the ancient rules of combat on which their relationship with the media is founded. When they offer ritual humiliation, you smile sheepishly and endure it. When they offer you incriminating allegations, you chunter unconvincingly with anecdotes about pizza outlets. When they hound a relative to their death, you cheerfully accept it in exchange for some bar polish for your gilded cage.

This is the quid pro quo of the empty cipher of your life, the price paid for the honour of drifting around needlessly large and difficult to heat houses; for the privilege of attending garden fetes and asking people, incessantly, what it is they do; for soaking in the quiet scorn of your social circle, who are just as wealthy as you but don’t have to spend every other day trapped in the pallid light of the hospital ward they are opening.

But no, clearly those privileges – of being an absurd and costly anachronism, like an antique foot-pedal sewing machine or leech beauty treatments – aren’t good enough for the Sussexes.

That’s why, in my fleeting outrage, I have created a petition calling for Harry and his children to be removed from the line of succession, finally injecting a bit of democracy into the principle of hereditary succession.

At least, until I lose interest and, with the true privilege of the super-rich – unencumbered by the stifling confines of duty to an institution whose right to exist is predicated on its own powerlessness – I return to the warm azure waters of my tropical island, far beyond the gaze of a voracious press, free to shoot idly at porpoises.

---------

[1] I still rule over a small protectorate in Schleswig-Holstein, whether they recognise it or not, which entitles me to a proportion of the yield of the annual pig harvest. One day soon, I will make my way there in my best overalls and my hog-plucking gloves and take what is rightfully mine.

[2] Antony Worrall Thompson can deny it all he likes. We both know what happened and there’s only one way to interpret those photographs.

[3] And, never one to miss out on a scoop, even one to my own extreme national humiliation, the pages of the Panic Office itself.

[4] Had any survived that regrettable and not provably suspicious yacht fire two years ago.

[tcm]

How Race Prevented Dorothy Dandridge from Being a Star By Susan King

Dorothy Dandridge was the first Black movie star. “She was our queen,” once said African American actress Nichelle Nichols (of Star Trek fame). Dandridge also made history with her full-blooded performance as the femme fatale in Otto Preminger’s 1954 CARMEN JONES. She became the first Black woman to earn an Oscar nomination for Best Actress and the first to grace the cover of Life magazine.

Her achievements were during a decade before the Civil Rights Act of 1964, and her nomination would mark five decades before a Black actress, Halle Berry, would win in that category. Berry also won an Emmy for her performance as the Dandridge in HBO’s Introducing Dorothy Dandridge (1999).

By the time Dandridge landed her role in CARMEN JONES, she had already paid her dues tenfold. She knew how difficult it was to be gifted, young, Black and beautiful in Hollywood. “CARMEN JONES was the best break I ever had,” said Dandridge, who tragically died at the age of 42 in 1965. “But no producer ever knocked on my door. There just aren’t as many parts or a Black actress. If I were white, I could capture the world.”

She was a child singer along with her older sister Vivian as part of The Wonder Children. Her mother, actress Ruby Dandridge, was the ultimate stage mother and so was her companion Geneva Williams, who oversaw their career. She was strict and allegedly was abusive. With family friend Etta Jones, Dorothy and Vivian became The Dandridge Sisters. They came to Hollywood around the time she was four. “I was one of those musical kids you hear about, with parts in pictures like the Marx Brothers’ A Day at the Races (‘37),” Dandridge said.

The Dandridge Sisters performed in Europe, the famed Cotton Club and appeared on Broadway in 1939 with Louis Armstrong in the short-lived Swingin’ the Dream. They also sang with African American band leader Jimmie Lunceford. And besides appearing in A DAY AT THE RACES, they were a specialty act in such movies and shorts as Snow Gets in Your Eyes (‘38), in which they perform “Harlem Yodel” and “Rhythm Rascals.”

Even as a teenager, you can’t keep your eyes off of Dandridge. She had the indescribable “It” factor. And after she went out on her own, she continued to dazzle in short musical films known as “soundies” that were produced for video jukeboxes of the era. She also had tiny roles, often uncredited, in movies, including David O. Selznick’s popular World War II film SINCE YOU WENT AWAY (‘44). Perhaps her most notable performance at this time was in the Sonja Henie musical ice-skating comedy SUN VALLEY SERENADE (‘41) in which she performs “Chattanooga Choo Choo” in a slinky black ensemble with the tap-dancing duo Harold and Fayard Nicholas.

“No film fan has ever forgotten her as a dream girl with the brothers,” said African American film historian Donald Bogle in his book Hollywood Black: The Stars, the Films, the Filmmakers.

She was all of 19 when she married Harold Nicholas, whom she had first met while performing at the Cotton Club. Their only child Harolyn was born in 1943. Nicholas had gone off to play golf the day Dandridge went into labor and he took the car keys, so she was delayed getting to the hospital to deliver the baby. Harolyn was born brain damaged and was never able to speak or even recognize Dandridge.

Dandridge believed the reason she was born mentally disabled was because of the delay in delivery. Dandridge would be haunted by guilt the rest of her life. She provided expensive care for her daughter, but when her finances became grim, Harolyn became a ward of the state. According to the TCM.com overview of BRIGHT ROAD (‘53), in which Dandridge portrays a dedicated young schoolteacher, seeing “healthy African-American children playing on the set proved too much for her, and she fled to her dressing room.”

Dandridge had always wanted to be a dramatic actress and attended the progressive Actors’ Lab in Los Angeles, becoming one of the school’s first Black students. Marilyn Monroe was also one of the students and became great friends with Dandridge. It would be considered a communist organization in the early 1950s with several members being blacklisted and the theater soon closed.

She also worked with noted coach and composer/arranger Phil Moore to develop a nightclub act, which Dandridge performed internationally to great acclaim. Under Moore’s guidance, Dandridge went from the young vivacious singer to a sultry, sexy chanteuse. Time magazine wrote about a nightclub appearance where she “came wriggling out of the wings like a caterpillar on a hot rock.” And according to a 1997 New York Times piece by Janet Maslin, when Dandridge headlined the Mocambo nightclub in L.A. in 1953, the cigarette girls actually sold copies of Alfred Kinsey’s Sexual Behavior in the Human Female.

“I think it was really the heartache over my child and the failure of my marriage that forced me to make a success out of my career,” Dandridge explained in 1954. “I had to keep busy. I threw myself into my work. It’s a wonderful therapy. You don’t have time to feel sorry for yourself.”

She landed roles in three low-budget films including TARZAN’S PERIL (‘51). Dandridge is the best thing about the adventure as Melmendi, the young, beautiful and feisty Queen of Ashuba, who is kidnapped and rescued by Tarzan. Bogle notes that Lex Barker’s Tarzan shows a lot more interest in Melmendi than he does in Jane (Virginia Huston). “Here were suggestions of an interracial romance that the studio didn’t explore.” But audiences were titillated. Ebony magazine put her on the cover with the banner: “Hollywood’s Newest Glamour Queen.’’

She would appear in a few more roles, including THE HARLEM GLOBETROTTERS (‘51) and BRIGHT ROAD opposite Harry Belafonte, who would star with her the following year in CARMEN JONES. The operetta gave her high visibility but few additional film roles. Also, she had fallen in love with Preminger, who didn’t give her the best career advice. They would work together one more time in the film adaptation of PORGY AND BESS (‘59), for which Dandridge was nominated for a Golden Globe.

“But sadly, her decline came soon after her triumph,” notes Bogle in Brown Sugar. “She realized she was a token figure within the movie colony, her position not much different than Lena Horne’s in the ‘40s. There was no great follow-up of roles to sustain her fame. Three years passed before she appeared in another film.” Dandridge once said of racial prejudice: “It is such a waste. It makes you loggy and half-alive. If it gives you nothing.”

Dandridge was drinking heavily and taking antidepressants by the late 1950s. In fact, when Dandridge married a second time in 1959, to the man who was not only abusive but would leave her broke, she was so drugged that she fell asleep at the reception. “Dandridge’s last years were lonely and sad as she struggled to find work,” said Bogle.

[arinfmdxcs2]

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