Fame Movie Quotes

I've been thinking lately about immortality. What it means to be remembered, what I want to be remembered for, certain questions concerning memory and fame. I love watching old movies. I watch the faces of long-dead actors on the screen, and I think about how they'll never truly die. I know that's a cliché but it happens to be true. Not just the famous ones who everyone knows, the Clark Gables, the Ava Gardners, but the bit players, the maid carrying the tray, the butler, the cowboys in the bar, the third girl from the left in the nightclub. They're all immortal to me. First we only want to be seen, but once we're seen, that's not enough anymore. After that, we want to be remembered.

If you want the motivation back, you must feed it Feed it everything. Books, television, movies, paintings, stage plays, real-life experience. Sometimes feeding simply means working, working through nonmotivation, working even when you hate it. We create art for many reasons - wealth, fame, love, admiration - but I find the one thing that produces the best results is desire. When you want the thing you're creating, the beauty of it will shine through, even if the details aren't all in order. Desire is the fuel of creators, and when we have that, motivation will come in its wake.

When it comes to forming opinions on works of art, people look to others. Most people end up liking paintings, songs and movies just because the majority have a favourable opinion about them. Ultimately it’s all about the brand value of the artist.

You learn to appreciate the fact that what drives you is very different from what you’re told should make you happy. You learn that it’s okay to prefer your personal idea of heaven (live-tweeting zombie movies from under a blanket of kittens) rather than someone else’s idea that fame/fortune/parties are the pinnacle we should all reach for. And there’s something surprisingly freeing about that.

Keanu Reeves?" she asks in amazement. I nod. "What did he wish for?" "Isn't it obvious?" I say, waving a hand at the screen. "Fame." "That's why he's famous? Because of a wish?" "Have you seen his movies? Surely you didn't think he made it on his acting skills?" I grant wishes; I don't work miracles. Viola looks back at the screen, eyes screwed up in awe. "I guess that makes sense," she says faintly as my former master delivers a line poorly. "Wow.

Forget about the scant hours in her brief life when Sylvia Plath was able to produce the works in Ariel. Forget about that tiny bit of time and just remember the days that spanned into years when she could not move, couldn’t think straight, could only lie in wait in a hospital bed, hoping for the relief that electroconvulsive therapy would bring. Don’t think of the striking on-screen picture, the mental movie you create of the pretty young woman being wheeled on the gurney to get her shock treatments, and don’t think of the psychedelic, photonegative image of this sane woman at the moment she receives that bolt of electricity. Think, instead, of the girl herself, of the way she must have felt right then, of the way no amount of great poetry and fascination and fame could make the pain she felt at that moment worth suffering. Remember that when you’re at the point at which you’re doing something as desperate and violent as sticking your head in an oven, it is only because the life that preceded this act felt worse. Think about living in depression from moment to moment, and know it is not worth any of the great art that comes a its by-product.

She was born under the sign of Gemini. And that stands for the good and evil twin. Dr. Jekyll and Mr. Hyde both hiding and residing inside her heart. Her good twin was not bad at all. But her evil twin was even better, and showed up to be way too fatal!

In the land of Gods and Monsters I was an Angel Living in the garden of evil Screwed up, scared, doing anything that I needed Shining like a fiery beacon You got that medicine I need Fame, Liquor, Love give it to me slowly Put your hands on my waist, do it softly Me and God, we don't get along so now I sing No one's gonna take my soul away I'm living like Jim Morrison Headed towards a fucked up holiday Motel sprees sprees and I'm singing 'Fuck yeah give it to me this is heaven, what I truly Want' It's innocence lost Innocence lost In the land of Gods and Monsters I was an Angel Looking to get fucked hard Like a groupie incognito posing as a real singer Life imitates art You got that medicine I need Dope, shoot it up, straight to the heart please I don't really wanna know what's good for me God's dead, I said 'baby that's alright with me' No one's gonna take my soul away I'm living like Jim Morrison Headed towards a fucked up holiday Motel sprees sprees and I'm singing 'Fuck yeah give it to me this is heaven, what I truly Want' It's innocence lost Innocence lost When you talk it's like a movie and you're making me Crazy - Cause life imitates art If I get a little prettier can I be your baby? You tell me, "life isn't that hard" No one's gonna take my soul away I'm living like Jim Morrison Headed towards a fucked up holiday Motel sprees sprees and I'm singing 'Fuck yeah give it to me this is heaven, what I truly Want' It's innocence lost Innocence lost

But even with my minimal amount of fame, there are certain perks. Recently, I was at a movie premier, and at the party after the movie, Meryl Streep was loose, walking around the room like a normal person. Absolutely nothing was preventing me from lunging toward her and shrieking "Dingoes ate my baby! Dingoes ate my baby!

Zen replaces all objects of belief with one single thing: reality itself. We believe only in this universe. We don't believe in the afterlife. We don't believe in the sovereignty of nations. We don't believe in money or power or fame. We don't believe in our idols. We don't believe in our positions or our possessions. We don't believe we can be insulted, or that our honor or the honor of our family, our nation or our faith can be offended. We don't believe in Buddha. We just believe in reality. Just this.

You’re looking for sexual tidbits as a female child, and the only ones that present themselves depict child rape or other violations (all my favorite books in my preteen years: I Know Why the Caged Bird Sings, Clan of the Cave Bear, The World According to Garp, as well as the few R-rated movies I was allowed to see—Fame, most notably, with its indelible scene of Irene Cara being asked to take her shirt off and suck her thumb by a skeezy photographer who promises to make her a star), then your sexuality will form around that fact. There is no control group. I don’t even want to talk about “female sexuality” until there is a control group. And there never will be.

Does John Green have a Hollywood Star? A John Green does but he is not me. He was a composer who won five Academy Awards for scoring such movies as An American in Paris and West Side Story. Although today he is mostly forgotten which is a nice reminder that no matter what you do the tides of time will wash away your sandcastles. So there's no sense in reaching for some foolhardy notion of immortality when there is real work to be done with real people, right now.

If a queen comes to America, crowds fill the station squares, and attendant British journalists rejoice, 'You see: the American Cousins are as respectful to Royalty as we are.' But the Americans have read of queens since babyhood. they want to see one queen, once, and if another came to town next week, with twice as handsome a crown, she would not draw more than two small boys and an Anglophile. Americans want to see one movie star, one giraffe, one jet plance, one murder, but only one. They run up a skyscraper or the fame of generals and evangelists and playwrights in one week and tear them all down in an hour, and the mark of excellence everywhere is 'under new management'.

Here is a postcard from the other side: fame, luxury items and glamour are not real and cannot solve you, whether it’s a pair of shoes, a stream of orgies, a movie career or global adulation. They are just passing clouds of imaginary pleasure.

He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests.

They acted because they loved acting, but also, let’s be honest here, to be noticed. All they wanted was to be seen. I’ve been thinking lately about immortality. What it means to be remembered, what I want to be remembered for, certain questions concerning memory and fame. I love watching old movies. I watch the faces of long-dead actors on the screen, and I think about how they’ll never truly die. I know that’s a cliché but it happens to be true. Not just the famous ones who everyone knows, the Clark Gables, the Ava Gardners, but the bit players, the maid carrying the tray, the butler, the cowboys in the bar, the third girl from the left in the nightclub. They’re all immortal to me. First we only want to be seen, but once we’re seen, that’s not enough anymore. After that, we want to be remembered.

She is not given to fawning over celebrities, no more than most people, but can't help being drawn to the aura of fame—and more than fame, actual immortality— implied by the presence of a movie star in a trailer.

Peter Sellers offered me a small part opposite him in a rather good scene where Sir Guy Grand purchases a ‘School of Rembrandt’ portrait and then cuts out the nose of it with a knife, explaining to my character (a snotty young art dealer) that he only collects noses. I, of course, have to react with horror, and I exclaim ‘Shit!’ This was quite a naughty word in 1968 – so naughty, in fact, that when, some months later, my scene was shown on television to promote the movie I became, as far as I know, the first person ever to say ‘shit’ on British television. (This, incidentally, is one of my three claims to fame: the others are that I have a species of lemur named after me, and that I was once French-kissed – on camera – by Tim Curry.)

I’m not too sure what the name of the song was that he was playing when I came in, but whatever it was, he was really stinking it up. He was putting all these dumb, show-offy ripples in the high notes, and a lot of other very tricky stuff that gives me a pain in the ass. You should’ve heard the crowd, though, when he was finished. You would’ve puked. They went mad. They were exactly the same morons that laugh like hyenas in the movies at stuff that isn’t funny. I swear to God, if I were a piano player or an actor or something and all those dopes though I was terrific, I’d hate it. I wouldn’t even want them to clap for me. People always clap for the wrong things. If I were a piano player, I’d play it in the goddam closet. Anyway, when he was finished, and everybody was clapping their heads off, old Ernie turned around on his stool and gave this very phony, humble bow. Like as if he was a helluva humble guy, besides being a terrific piano player. It was very phony—I mean him being such a big snob and all. In a funny way, though, I felt sort of sorry for him when he was finished. I don’t even think he knows any more when he’s playing right or not. It isn’t all his fault. I partly blame all those dopes that clap their heads off—they’d foul up anybody, if you gave them a chance.

My mother hated the kids on the network television show Fame,1 which was based on (and which featured some of the kids from) the big hit movie Fame. (Okay, she didn’t really hate them; she just couldn’t figure out why they were all thirty-five years old and still in high school.

Make me breakfast in the morning?" "So long as you don't leave my sight until then." He grinned. I laughed. Sure, I was crazy about him, but spending the night with him? "Oh really?" "We'll rent a bunch of movies and fill up on popcorn. Maybe snuggle. If you're lucky." "I'm feeling very lucky right now.

So you should always have a product that’s not just “you.” An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you’re worth, and you don’t get stuck thinking your product is you and your fame, and your aura. 6 Work

People used to call me an attention whore, it’s like, is that what you call authors who try to sell their book? Do you call a movie star that when they walk the red carpet? Would you ever call a man that?’ I was trying to get people to read my columns so I could pay rent on my $2,500 studio apartment. Even that word, ‘whore,’ everyone uses it so much about me. She’s an attention whore.

I've been thinking lately about immortality. What it means to be remembered, what I want to be remembered for, certain questions concerning memory and fame. I love watching old movies. I watch the faces of long-dead actors on the screen, and I think about how they'll never truly die. I know that's a cliché but it happens to be true. Not just the famous ones who everyone knows, the Clark Gables, the Ava Gardners, but the bit players, the maid carrying the tray, the butler, the cowboys in the bar, the third girl from the left in the nightclub. They're all immortal to me. First we only want to be seen, but once we're seen, that's not enough anymore. After that, we want to be remembered. (187)

What I like to see is when actors use their celebrity in an interesting way. Some of them have charitable foundations, they do things like try to bring attention to the plight of women and girls in Afghanistan, or they're trying to save the White African Rhino, or they discover a passion for adult literacy, or what have you. All worthy causes, of course, and I knowtheir fame helps to get the word put. But let's be honest here.None of them went into the entertainment industry because they wanted to do good in the world. Speaking for myself, I didn't even think about until I was already successful. Before they were famous, my actor friends were just going to auditions and struggling to be noticed, taking any work they could find, acting for free in friends movies, working in restaurants or as caterers, just trying to get by. They acted because they loved acting, but also, let's be honest here, to be noticed. All they wantedf was to be seen. I've been thinking lately about immortality. What it means to be remembered, what I want to be remembered for, certainquestions concerning memory and fame. I love watching old movies. I watch the faces of long-dead actors on the screen, and I think about how they'll never truly die. I know that's a cliche but it happens to be true. Not just the famous ones who everyone knows, but the bit players, the maid carrying the tray, the butler, the cowboys in the bar, the third girl from the left in the night-club. They're all immortal to me. First we only want to be seen, but once we're seen, that's not enough anymore. Afterthat, we want to be remembered.

I was always bad at reading scripts. Back then, I’d be offered millions of dollars to do movies and barely crack the first few pages. I’m embarrassed to admit that now, given that these days I’m writing scripts myself and it’s like pulling teeth to get actors to respond. Maybe they feel how I used to feel: that in a life of fun and fame and money, reading a script, no matter the size of the number attached, feels all too much like school. The universe will teach you, though. All those years I was too this, too that, to read a script, but last year I wrote a screenplay for myself and was trying get it made until I realized that I was too old to play the part. Most fifty-three-year-olds have worked their shit out already, so I needed to hire a thirty-year-old. The one I chose took weeks and weeks to respond, and I couldn’t believe how rude his behavior was.

That is the moment I begin to despise the idea of fame. What does it do for the bearer of the laurel? Who cares if your name is in the paper? Who cares if you are mentioned as one of the top-ten cyclists, boxers, batters, painters, poets, artists, fly fishermen in the world? Who cares if your name is written in history books? When you have died you can't read those history books. When you have died the small trace you have left behind, even if you win a Tony, an Emmy, an Oscar, an election, will lose its vibrancy, fade into an outline. Oh yes, him, I heard of him, I knew someone who read him once. What difference does it make to the corpse if his books are in libraries or not in libraries? Who cares if his plays are revived on the summer-stock circuit for one hundred years? Isn't the simplest touch of a child's arm on the face more important, isn't the good meal, the brush against a thigh, a hand held during a movie, a swim in the sea, aren't those things of equal importance as the sands of time come rushing down on our heads burying ambition and love, good and evil, breath, blood, brains, waste, memory, alike in oblivion?

And, so, what was it that elevated Rubi from dictator's son-in-law to movie star's husband to the sort of man who might capture the hand of the world's wealthiest heiress? Well, there was his native charm. People who knew him, even if only casually, even if they were predisposed to be suspicious or resentful of him, came away liking him. He picked up checks; he had courtly manners; he kept the party gay and lively; he was attentive to women but made men feel at ease; he was smoothly quick to rise from his chair when introduced, to open doors, to light a lady's cigarette ("I have the fastest cigarette lighter in the house," he once boasted): the quintessential chivalrous gent of manners. The encomia, if bland, were universal. "He's a very nice guy," swore gossip columnist Earl Wilson, who stayed with Rubi in Paris. ""I'm fond of him," said John Perona, owner of New York's El Morocco. "Rubi's got a nice personality and is completely masculine," attested a New York clubgoer. "He has a lot of men friends, which, I suppose, is unusual. Aly Khan, for instance, has few male friends. But everyone I know thinks Rubi is a good guy." "He is one of the nicest guys I know," declared that famed chum of famed playboys Peter Lawford. "A really charming man- witty, fun to be with, and a he-man." There were a few tricks to his trade. A society photographer judged him with a professional eye thus: "He can meet you for a minute and a month later remember you very well." An author who played polo with him put it this way: "He had a trick that never failed. When he spoke with someone, whether man or woman, it seemed as if the rest of the world had lost all interest for him. He could hang on the words of a woman or man who spoke only banalities as if the very future of the world- and his future, especially- depended on those words." But there was something deeper to his charm, something irresistible in particular when he turned it on women. It didn't reveal itself in photos, and not every woman was susceptible to it, but it was palpable and, when it worked, unforgettable. Hollywood dirt doyenne Hedda Hoppe declared, "A friend says he has the most perfect manners she has ever encountered. He wraps his charm around your shoulders like a Russian sable coat." Gossip columnist Shelia Graham was chary when invited to bring her eleven-year-old daughter to a lunch with Rubi in London, and her wariness was transmitted to the girl, who wiped her hand off on her dress after Rubi kissed it in a formal greeting; by the end of lunch, he had won the child over with his enthusiastic, spontaneous manner, full of compliments but never cloying. "All done effortlessly," Graham marveled. "He was probably a charming baby, I am sure that women rushed to coo over him in the cradle." Elsa Maxwell, yet another gossip, but also a society gadabout and hostess who claimed a key role in at least one of Rubi's famous liaisons, put it thus: "You expect Rubi to be a very dangerous young man who personifies the wolf. Instead, you meet someone who is so unbelievably charming and thoughtful that you are put off-guard before you know it." But charm would only take a man so far. Rubi was becoming and international legend not because he could fascinate a young girl but because he could intoxicate sophisticated women. p124

This is the part of the book where the author usually sums it all up in a conclusion chapter and announces, “I did it!” I suppose I could have titled it “The Finale,” but that’s just not me. I don’t think you ever reach a point in life (or in writing!) where you get to say that. It ain’t over till it’s over. I want to be an eternal student, always pushing myself to learn more, fear less, fight harder. What lies in the future? Truthfully, I don’t know. For some people, that’s a scary thought. They like their life mapped out and scheduled down to the second. Not me. Not anymore. I take comfort in knowing not everything is definite. There’s where you find the excitement, in the unknown, uncharted, spaces. If I take the lead in my life, I expect that things will keep changing, progressing, moving. That’s the joy for me. Where will I go next? What doors will open? What doors will close? All I can tell you is that I will be performing and connecting with people--be it through dance, movies, music, or speaking. I want to inspire and create. I love the phrase “I’m created to create.” That’s what I feel like, and that’s what makes me the happiest. I’m building a house right now--my own extreme home makeover. I love the process of tearing something down and rebuilding it, creating something from nothing and bringing my artistic vision to it. I will always be someone who likes getting his hands dirty. But the blueprint of my life has completely changed from the time I was a little boy dreaming about fame. It’s broadened and widened. I want variety in my life; I like my days filled with new and different things. I love exploring the world, meeting new people, learning new crafts and art. It’s why you might often read what I’m up to and scratch your head: “I didn’t know Derek did that.” I probably didn’t before, but I do now.

But there were problems. After the movie came out I couldn’t go to a tournament without being surrounded by fans asking for autographs. Instead of focusing on chess positions, I was pulled into the image of myself as a celebrity. Since childhood I had treasured the sublime study of chess, the swim through ever-deepening layers of complexity. I could spend hours at a chessboard and stand up from the experience on fire with insight about chess, basketball, the ocean, psychology, love, art. The game was exhilarating and also spiritually calming. It centered me. Chess was my friend. Then, suddenly, the game became alien and disquieting. I recall one tournament in Las Vegas: I was a young International Master in a field of a thousand competitors including twenty-six strong Grandmasters from around the world. As an up-and-coming player, I had huge respect for the great sages around me. I had studied their masterpieces for hundreds of hours and was awed by the artistry of these men. Before first-round play began I was seated at my board, deep in thought about my opening preparation, when the public address system announced that the subject of Searching for Bobby Fischer was at the event. A tournament director placed a poster of the movie next to my table, and immediately a sea of fans surged around the ropes separating the top boards from the audience. As the games progressed, when I rose to clear my mind young girls gave me their phone numbers and asked me to autograph their stomachs or legs. This might sound like a dream for a seventeen-year-old boy, and I won’t deny enjoying the attention, but professionally it was a nightmare. My game began to unravel. I caught myself thinking about how I looked thinking instead of losing myself in thought. The Grandmasters, my elders, were ignored and scowled at me. Some of them treated me like a pariah. I had won eight national championships and had more fans, public support and recognition than I could dream of, but none of this was helping my search for excellence, let alone for happiness. At a young age I came to know that there is something profoundly hollow about the nature of fame. I had spent my life devoted to artistic growth and was used to the sweaty-palmed sense of contentment one gets after many hours of intense reflection. This peaceful feeling had nothing to do with external adulation, and I yearned for a return to that innocent, fertile time. I missed just being a student of the game, but there was no escaping the spotlight. I found myself dreading chess, miserable before leaving for tournaments. I played without inspiration and was invited to appear on television shows. I smiled.

FACT 4 – There is more to the creation of the Manson Family and their direction than has yet been exposed. There is more to the making of the movie Gimme Shelter than has been explained. This saga has interlocking links to all the beautiful people Robert Hall knew. The Manson Family and the Hell’s Angels were instruments to turn on enemy forces. They attacked and discredited politically active American youth who had dropped out of the establishment. The violence came down from neo-Nazis, adorned with Swastikas both in L.A. and in the Bay Area at Altamont. The blame was placed on persons not even associated with the violence. When it was all over, the Beatles and the Rolling Stones were the icing on this cake, famed musicians associated with a racist, neo-Nazi murder. By rearranging the facts, cutting here and there, distorting evidence, neighbors and family feared their own youth. Charles Manson made the cover of Life with those wide eyes, like Rasputin. Charles Watson didn’t make the cover. Why not? He participated in all the killings. Manson wasn’t inside the house. Manson played a guitar and made records. Watson didn’t. He was too busy taking care of matters at the lawyer’s office prior to the killings, or with officials of Young Republicans. Who were Watson’s sponsors in Texas, where he remained until his trial, separate from the Manson Family’s to psychologically distance him from the linking of Watson to the murders he actually committed. “Pigs” was scrawled in Sharon Tate’s house in blood. Was this to make blacks the suspects? Credit cards of the La Bianca family were dropped intentionally in the ghetto after the massacre. The purpose was to stir racial fears and hatred. Who wrote the article, “Did Hate Kill Tate?”—blaming Black Panthers for the murders? Lee Harvey Oswald was passed off as a Marxist. Another deception. A pair of glasses was left on the floor of Sharon Tate’s home the day of the murder. They were never identified. Who moved the bodies after the killers left, before the police arrived? The Spahn ranch wasn’t a hippie commune. It bordered the Krupp ranch, and has been incorporated into a German Bavarian beer garden. Howard Hughes knew George Spahn. He visited this ranch daily while filming The Outlaw. Howard Hughes bought the 516 acres of Krupp property in Nevada after he moved into that territory. What about Altamont? What distortions and untruths are displayed in that movie? Why did Mick Jagger insist, “the concert must go on?” There was a demand that filmmakers be allowed to catch this concert. It couldn’t have happened the same in any other state. The Hell’s Angels had a long working relationship with law enforcement, particularly in the Oakland area. They were considered heroes by the San Francisco Chronicle and other newspapers when they physically assaulted the dirty anti-war hippies protesting the shipment of arms to Vietnam. The laboratory for choice LSD, the kind sent to England for the Stones, came from the Bay Area and would be consumed readily by this crowd. Attendees of the concert said there was “a compulsiveness to the event.” It had to take place. Melvin Belli, Jack Ruby’s lawyer, made the legal arrangements. Ruby had complained that Belli prohibited him from telling the full story of Lee Harvey Oswald’s murder (another media event). There were many layers of cover-up, and many names have reappeared in subsequent scripts. Sen. Philip Hart, a member of the committee investigating illegal intelligence operations inside the US, confessed that his own children told him these things were happening. He had refused to believe them. On November 18, 1975, Sen. Hart realized matters were not only out of hand, but crimes of the past had to be exposed to prevent future outrages. How shall we ensure that it will never happen again? It will happen repeatedly unless we can bring ourselves to understand and accept that it did go on.

It is the importance of this quality of generosity in fiction that requires a measure of childishness in the writer. People who have strong mental focus and a sense of purpose in their lives, people who have respect for all that grownups generally respect (earning a good living, the flag, the school system, those who are richer than oneself, those who are beloved and famous, such as movie stars), are unlikely ever to make it through the many revisions it takes to tell a story beautifully, without visible tricks, nor would they be able to tolerate the fame and fortune of those who tell stories stupidly, with hundreds of tricks, all of them old and boring to the discriminating mind. First, with his stubborn churlishness the good writer scoffs at what the grownups are praising, then, with his childish forgetfulness and indifference to what sensible people think, he goes back to his foolish pastime, the making of real art.

Fame Cheats On Movie Star Planet [84788] Follow the instructions: Step 1) Search Google.com For "special keygens and hacks" Step 2) Click the 1st or 2nd place result which is a Facebook Page or Pagebin Enjoy! :)

1919, race riots broke out in Chicago and a dock workers’ strike hit New York; the eight-hour workday was instituted nationally; President Woodrow Wilson won the Nobel Peace Prize and presided over the first meeting of the League of Nations in Paris; the Red Army took Omsk, Kharkov, and the Crimea; Mussolini founded the Italian fascist movement; Paderewski became Premier of Poland. Henri Bergson, Karl Barth, Ernst Cassirer, Havelock Ellis, Karl Jaspers, John Maynard Keynes, Rudolf Steiner—indelible figures—were all active in their various spheres. Short-wave radio made its earliest appearance, there was progress in sound for movies, and Einstein’s theory of relativity was borne out by astrophysical experiments. Walter

What happened in Prohibition? What happens to you when you put on a few pounds, and decide to get rid of them with a crash diet? What happened to the, ah, romantic content of movies after public criticism forced the adoption of a rating code? What happens to a daughter whose father forbids her to date? Unwanted efforts to apply a strict standard will almost always backfire, and bring about the very result which they seek to prevent.

PARTNERS IN CRIME HOW THE CLINTONS WENT FROM DEAD BROKE TO FILTHY RICH And the money kept rolling in from every side. —Song from the musical Evita The quotation above refers to the Juan and Evita Peron Foundation, established in 1948 by Evita Peron for the purpose of helping Argentina’s poor. Evita professed to be a champion of the campesinos—the wretched workers who lived in shanties on the outskirts of Buenos Aires—and they trusted Evita. She had, after all, risen up herself from poverty and obscurity. Her fame was the result of her marriage to the general who became the military leader of the country, Juan Peron. Long before the Clintons, Argentina had its own power couple that claimed to do good and ended up doing very well for themselves. There are, obviously, differences between the Clintons and the Perons. Despite her personal popularity, Evita remained an appendage of her husband, seeking but never obtaining political office. At one point, Evita had her eye on an official position, but the political establishment vigorously opposed her, and her husband never supported her in this effort. Hillary, by contrast, was elected senator and now, having deployed her husband on the campaign trail, seeks election to the nation’s highest office previously held by him. The Perons also had a foundation that took in millions of pesos—the equivalent of $200 million—from multiple foreign sources, Argentine businesses, as well as contributions from various individuals and civic groups. With its 14,000 employees, the foundation was better equipped and more influential than many agencies within the Argentinian government. Evita and her cronies were experts at shaking down anyone who wanted something from the government; donations became a kind of tax that opened up access to the Peron administration. Trade unions sent large contributions because they saw Evita and her husband as champions of their cause. In 1950, the government arranged that a portion of all lottery, movie, and casino revenues should go to the foundation. While the foundation made symbolic, highly publicized gestures of helping the poor, in reality only a fraction of the money went to the underprivileged. Most of it seems to have ended up in foreign bank accounts controlled by the Perons, who became hugely wealthy through their public office profiteering. When Evita died in 1954 and the foundation was shut down, Argentines discovered stashes of undistributed food and clothing. No one from the foundation had bothered to give it away, so it sat unused for years. Helping the poor, after all, wasn’t the real reason Evita set up her foundation. No, she had a different set of priorities. Like so many Third World potentates, the Perons used social justice and provision for the poor as a pretext to amass vast wealth for themselves. The Clintons have done the same thing in America; indeed, Hillary may be America’s version of Evita Peron.

You really want my honest opinion?” I ask. Anton gestures for me to go on. “Please, this is why I hired you, devochka.” I detect a little hint of sarcasm, but I go ahead and say, “I hate restaurants like this.” “Why?” He seems genuinely curious to know why. “Because—because they’re expensive.” “What is the problem? I’m paying for everything.” I shake my head. “It’s not that—you see,” I lower my voice, “ this is where famous people eat.” “Famous?” Anton pretends to look around. “Where?” “I think that’s the guy from that prank show. And there’s that guy from those vampire movies. And Maya Findlay.” “Yeah? I don’t know who they are.” “Really?” I ask dubiously. “I’m not into the famous people thing too.” “Really.” “Yes.” “Which is why you only date models who want to become actresses.” I notice him giving me a look. “Sorry,” I say sheepishly.

The reviews of Kentucky boosted Brennan to an even higher level in the Hollywood echelon. The Hollywood Reporter (December 15) summed up the sentiment of the time: “Walter Brennan, who has already carved a large niche for himself in the movie hall of fame, has himself a really grand and glorious triumph as a Kentucky gentleman and horse breeder. A real persona and thoroughly lovable one, he wraps up the picture neatly with his capable acting and beautiful characterization and is a tribute to the South. And Hollywood gossip columnist Louella Parsons did not mind campaigning for Brennan, calling his performance a “standout” that “might well earn him an Academy Award.

So when people see me walking on the street, they feel like we're old pals. Women pull my cheeks and men clap me on the shoulder; I'm like a petting zoo. But movie stars, on the other hand, are much more untouchable. Those are people that you watch from afar. They're regal lions. I'm a friendly goat.

There once lived, at a series of temporary addresses across the United States of America, a travelling man of Indian origin, advancing years and retreating mental powers, who, on account of his love for mindless television, had spent far too much of his life in the yellow light of tawdry motel rooms watching an excess of it, and had suffered a peculiar form of brain damage as a result. He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests.

The movie was a bust and, though Annie had been singled out by several critics as the only honest performance in the film, there was to be little to no promotion in advance of its release. However, there were a few incidents regarding the making of the movie that had resulted in a little more fame than Annie had intended—the reason, she suspected, she was being interviewed at all. “Here’s the thing,” her publicist said to Annie on the phone earlier that week. “You fucked up.” “Okay,” Annie replied. “I love you, Annie,” her publicist said, “but my job is to grow your career, to maintain the flow of information regarding you and your interests. And you kind of fucked me over for a little while.” “I didn’t mean to,” Annie said. “I know that. That’s one of the reasons that I love you, honey. But you fucked me. Let’s review, okay?” “Please don’t,” Annie said.

When white men have had such a disproportionate share of public, political, and social power, when they have been allowed and encouraged to be the leaders, the celebrities, the bosses, the voices that explain the news to us and make our movies and tell our stories, they have a disproportionate grip on our sympathies, imagination and affection. Other kinds of people, people we don't hear and see as often, who are not sent to us to comfort and explain and reassure and lead, people with less access to the kind of fame that breeds familiarity and a sense of humanity, are simply not valued or even acknowledged, in the same way.

Babe got his five minutes of fame—he was an extra in the Holland episode, a scene in Eindhoven. He's sitting at a table with a hat on, watching the action. He thinks he's a big shot now. I want to get in one of those Al Capone movies. Or be in Godfather Ten.

Tate, I’m sure you’re aware that this is an equal opportunity workplace. I have a unique set of skills—” “Ha!” I laugh. “Okay, Liam Neeson. Good to know I can call you if I get taken.

I dance. I jerk my butt back, clench my fists and push them forward, then reverse the action, so my hands are behind me and my pelvic thrusts. I keep going, simulating what I hope is nothing at all like what I really look like having sex.

El éxito no es fama, dinero o poder. El éxito es despertar cada mañana tan emocionado por lo que tienes que hacer que sales volando por la ventana, es estar con los que quieres, es conectarse con le mundo y que los demás lo sientan, es dormirte cada noche sabiendo que hiciste lo mejor que pudiste. El éxito es dicha, libertad, amistad y sobre todo amor.

The “Sons of the Pioneers” are amongst America’s earliest Country/Western singing groups. One weekend we’d drive south of the border to Tijuana, Mexico and the next weekend it would be to Knott’s Berry Farm, where I heard the “Sons of the Pioneers” singing Tumbling Tumble Weeds, Cool Clear Water and other Western songs that made the group famous. On many occasions, they performed with Roy Rogers, who was a movie cowboy and Dale Evans his cowgirl wife, from Victorville, California. The “Sons of the Pioneers” were popular at that time and were inaugurated into the Country Music Hall of Fame later in 1976. It was a summer that I will never forget! Knott’s Berry Farm is a 160-acre amusement park in Buena Park, California and the singing group has a star on the Hollywood Walk of Fame on Hollywood Blvd.

Numerous Monroe protégés formed their own groups performing in his style. The most famous were Lester Flatt and Earl Scruggs, respectively the guitarist-lead vocalist and the banjo picker who were core members of the classic Blue Grass Boys lineup of the late 1940s. They left to form the tremendously successful partnership of Flatt and Scruggs & the Foggy Mountain Boys, gaining crossover fame in the 1960s by contributing music to the soundtracks of the Beverly Hillbillies television show and the movie Bonnie and Clyde.

Mary and Anne wore traditional women’s clothing around the sailors, but, when prepared for battle, they always dressed in men’s fashion. When called upon to fight, the two women would stand back-to-back, each holding a pistol in one hand and a machete in the other. They literally had each other’s back. For two months in 1720, Jack, Anne, and Mary ruled the seas, and their fame spread far and wide. (You may not realize it, but they are all recalled in modern culture; for instance, Jack flew a black flag with a skull and two criss-crossing sabers imprinted in white on it, and that is the stereotyped pirate flag used in movies such as Pirates of the Caribbean.) A bounty was on Calico Jack’s head, so both other pirates and government officials sailed the seas hoping to capture him. One evening after Calico Jack had captured a large Spanish ship, his crew was celebrating with alcohol and were so intoxicated that the crew of a British government ship was able to come aboard his ship unannounced. Most of Jack’s men were in the ship’s galley and immediately surrendered. Anne and Mary, who were upstairs relaxing with Jack in the captain’s quarters, fought until they were clearly overwhelmed. All the pirates were taken to prison and most sentenced to death.  Anne snarled in frustration as the men were led past her, “If you had just fought like men, you wouldn’t be hanging like dogs.” Anne and Mary, though, both escaped the death penalty – but not prison - because they were pregnant. Anne was found to be carrying Jack’s baby and Mary was carrying a crew member’s child. Mary got a fever and died in prison, but no one knows what happened to Anne.

SCALE THE HUMAN MOUNTAIN OF SUMLESS LIES UNTIL YOU LABORIOUSLY REACH THE SUMMIT THEN CAUSE IT TO CRUMBLE BY YOUR EQUALLY SUMLESS BURDEN OF VERITY THAT NO HUMAN MAY FAVOUR YOU WITH A GLANCE ANY MORE AND THOSE WHO DO ARE NO LONGER HUMAN HAVING DIVESTED THEMSELVES OF THEIR HUMANITY AS YOU DID BY VIRTUE OF THE FACT OF * WHAT MAN HAS DONE TO HIMSELF BESIDES , YOU ARE ABLE TO ASCERTAIN HOW MANY '' FRIENDS '' YOU HAVE WHICH IS THE EMPTY SET CONTAINING ONE ELEMENT ONLY : VERITY ! , TO WHICH YOU PERTAIN AS WELL IT IS WHY IT IS THE HARDEST THING TO FIND THE PATH LEADING TO YOURSELF AND IT IS BY THE EMPTY SET THAT ALL OF MATHEMATICS HAS BEEN MADE AN EGREGIOUS LIE TOO IT IS MORE FACILE TO KILL SOMEONE OR , IF YOU ARE UNABLE TO , YOURSELF DO YOU SEE THE POPLAR AND THE ROBIN THAT IS PERCHED ON IT ? ASK THEM ! THEY KNOW HOW TO LIVE YOU DON'T BECAUSE YOU ARE HUMAN AND INTELLIGENT : MAN IS ENDUED WITH HIS SPIRIT OF INVENTION WHICH HAS REDUCED LIFE TO ABSURDITY AS ALL THOSE THEORIES AND TEACHINGS SPRINGING FROM IT HAVE NEVER BENEFITED LIFE , ON THE CONTRARY , DESTROYED IT ! AN APPRECIATION OF THE MAJESTY OF VERITY ALSO ENTAILS THE INEVITABLE CATASTROPHE OF '' BEING '' AND HENCE THE INFELICITY OF YOURSELF WHICH HAS TO BE ASCRIBED TO THOSE PROFOUND TEACHINGS OF MAN AND THE IMPRECATIONS WHICH THEY HEAPED UPON LIFE AND BEHIND WHICH EVERYONE STRIVES TO CONCEAL HIMSELF AS SOMETHING SUBLIME , BROTHERLY , CUNNING , INGENIOUS CONVINCED OF THE '' SUCCESS '' OF SUCH BEING ! INGENUITY AND SUCCESS , DO THOSE TWO WORDS DIFFER ? , AS MAN IS DETREMINED BY THOSE CRITERIA AND HENCE LIFE !... WHAT ALSO COMES TO MIND HERE IS THIS - THERE IS SOMETHING VASTLY ABOMINABLE ABOUT SOCIETY : ITS MEMBERS ARE EVER SO FOND OF ALL THOSE MOVIE STARS AND ALL THOSE OTHER LUMINARIES AND WHAT IS LUMINOUS ABOUT THEM I DO NOT KNOW ! YET THEY ARE IN THE HABIT OF TREATING THOSE VERY SIGNIFICANT PEOPLE DIFFERENTLY FROM ORDINARY PEOPLE SUCH AS A HOUSEMAID OR A GROCER OR A SALESMAN AND SO FORTH , THEREBY CREATING SOMETHING UTTERLY CORRUPT : A FALSE IDEALISM ! THEY NEED THOSE LUMINARIES AS THEY LACK ANY IDEALISM THEMSELVES IN THEIR EVERYDAY REALITY WHICH HAS DEPRAVED THEM OF IT , OVERLOOKING HOWEVER , HOW TRULY ORDINARY IN TRUTH ALL THOSE STARS ARE ! AND ALLOWING THEIR LACK OF IDEALISM TO BE SUPERSEDED BY OTHER PEOPLE'S NONPRESENT IDEALISM ON ACCOUNT OF THEIR PROMINENCE MAKES EVERYTHING LOOK EVEN DARKER IN LIFE , AS THOUGH LIFE CONSISTED IN FAME ! IS THIS WHY IT IS SO DARK IN THE HUMAN WORLD ? AM I THE ONLY PERSON TO APPREHEND DARKNESS IN THEIR LIGHTNESS ? OR WHY IS SO DARK IN THIS WORLD ? SOMETHING LIKE THAT NEEDS TO BE SHRUGGED OFF AS SOMETHING INEXPLICABLY RATIONAL , WHENCE I HAVE ALWAYS THOUGHT MYSELF IRRATIONAL IN NOT GROVELLING BEFORE THOSE WHO ARE EVEN MORE ORDINARY THAN ALL THE OTHER ORDINARY NON-FAMOUS PEOPLE ARE ! IT IS IN PARTICULAR THOSE ALL-IMPORTANT DIGNITARIES WHO TASTE OF METHYLATED SPIRITS IN A MOST ACRID AND NAUSEATING FASHION ! SO MUCH FOR CEANLINESS !...

THIRD EMENDED VERSION , SOME OMISSIONS HAVING BEEN ADDED TO MY LAST '' PUBLICATION '' TO KEEP THE LOGIC MORE LUCID SORRY FOR SETTING EVERYTHING DOWN SO QUICKLY - ''SCALE THE HUMAN MOUNTAIN OF SUMLESS LIES UNTIL YOU LABORIOUSLY REACH THE SUMMIT THEN CAUSE IT TO CRUMBLE BY YOUR EQUALLY SUMLESS BURDEN OF VERITY THAT NO HUMAN MAY FAVOUR YOU WITH A GLANCE ANY MORE AND THOSE WHO DO ARE NO LONGER HUMAN HAVING DIVESTED THEMSELVES OF THEIR HUMANITY AS YOU DID BY VIRTUE OF THE FACT OF WHAT MAN HAS DONE TO HIMSELF BESIDES , YOU ARE ABLE TO ASCERTAIN HOW MANY '' FRIENDS '' YOU HAVE WHICH IS THE EMPTY SET CONTAINING ONE ELEMENT ONLY : VERITY ! , TO WHICH YOU PERTAIN AS WELL IT IS WHY IT IS THE HARDEST THING TO FIND THE PATH LEADING TO YOURSELF AND IT IS BY THE EMPTY SET THAT ALL OF MATHEMATICS HAS BEEN MADE AN EGREGIOUS LIE TOO IT IS MORE FACILE TO KILL SOMEONE OR , IF YOU ARE UNABLE TO , YOURSELF THAN IT IS TO LIVE ! DO YOU SEE THE POPLAR AND THE ROBIN THAT IS PERCHED ON IT ? ASK THEM ! THEY KNOW HOW TO LIVE YOU DON'T BECAUSE YOU ARE HUMAN AND INTELLIGENT : MAN IS ENDUED WITH HIS SPIRIT OF INVENTION WHICH HAS REDUCED LIFE TO ABSURDITY AS ALL THOSE THEORIES AND TEACHINGS SPRINGING FROM IT HAVE NEVER BENEFITED LIFE , ON THE CONTRARY , DESTROYED IT ! AN APPRECIATION OF THE MAJESTY OF VERITY ALSO ENTAILS THE INEVITABLE CATASTROPHE OF '' BEING '' AND HENCE THE INFELICITY OF YOURSELF WHICH HAS TO BE ASCRIBED TO THOSE PROFOUND TEACHINGS OF MAN AND THE IMPRECATIONS WHICH THEY HEAPED UPON LIFE AND BEHIND WHICH EVERYONE STRIVES TO CONCEAL HIMSELF AS SOMETHING SUBLIME , BROTHERLY , CUNNING , INGENIOUS CONVINCED OF THE '' SUCCESS '' OF SUCH BEING ! INGENUITY AND SUCCESS , DO THOSE TWO WORDS DIFFER ? , AS MAN IS DETREMINED BY THOSE CRITERIA AND HENCE LIFE !... WHAT ALSO COMES TO MIND HERE IS THIS - THERE IS SOMETHING VASTLY ABOMINABLE ABOUT SOCIETY : ITS MEMBERS ARE EVER SO FOND OF ALL THOSE MOVIE STARS AND ALL THOSE OTHER LUMINARIES AND WHAT IS LUMINOUS ABOUT THEM I DO NOT KNOW ! YET THEY ARE IN THE HABIT OF TREATING THOSE VERY SIGNIFICANT PEOPLE DIFFERENTLY FROM ORDINARY PEOPLE SUCH AS A HOUSEMAID OR A GROCER OR A SALESMAN AND SO FORTH , THEREBY CREATING SOMETHING UTTERLY CORRUPT : A FALSE IDEALISM ! THEY NEED THOSE LUMINARIES AS THEY LACK ANY IDEALISM THEMSELVES IN THEIR EVERYDAY REALITY WHICH HAS DEPRAVED THEM OF IT , OVERLOOKING HOWEVER , HOW TRULY ORDINARY IN TRUTH ALL THOSE STARS ARE ! AND ALLOWING THEIR LACK OF IDEALISM TO BE SUPERSEDED BY OTHER PEOPLE'S NONPRESENT IDEALISM ON ACCOUNT OF THEIR PROMINENCE MAKES EVERYTHING LOOK EVEN DARKER IN LIFE , AS THOUGH LIFE CONSISTED IN FAME ! IS THIS WHY IT IS SO DARK IN THE HUMAN WORLD ? AM I THE ONLY PERSON TO APPREHEND DARKNESS IN THEIR LIGHTNESS ? OR WHY IS SO DARK IN THIS WORLD ? SOMETHING LIKE THAT NEEDS TO BE SHRUGGED OFF AS SOMETHING INEXPLICABLY RATIONAL , WHENCE I HAVE ALWAYS THOUGHT MYSELF IRRATIONAL IN NOT GROVELLING BEFORE THOSE WHO ARE EVEN MORE ORDINARY THAN ALL THE OTHER ORDINARY NON-FAMOUS PEOPLE ARE ! IT IS IN PARTICULAR THOSE ALL-IMPORTANT DIGNITARIES WHO TASTE OF METHYLATED SPIRITS IN A MOST ACRID AND NAUSEATING FASHION ! SO MUCH FOR CLEANLINESS !... VENERABLE ANCIENT SHADES HOVERING OVER THIS LAKE THAT IS NO MORE AND OF WHICH I AM PART THE WORLD AROUND ME FADES I DISPEL ALL THOSE BLANK AND GRAINED IDEAS MAKING UP HUMAN EXISTENCE I AM NO MORE I DREAM AND HOPEFULLY I WILL NEVER TURN BACK SO AS TO SEE THAT BLANK AND GRAINED HUMAN EXISTENCE AGAIN WHICH CAUSES LIFE TO BLUR SO MUCH THAT I AM NO LONGER IN A POSITION TO SUFFER FOR THIS MUCH GUILT , WHAT IS LIFE ? AMEN !...

KIRKUS REVIEWS BOOK REVIEW A retired professor explores the life and writings of Carl Sandburg in this debut book. “During the first half of the twentieth century,” Quinley writes, “Carl Sandburg seemed to be everywhere and do everything.” Though best known for his Pulitzer Prize–winning poetry and multivolume biography of Abraham Lincoln, Sandburg had a wide-ranging career as a public intellectual, which included stints in journalism as a columnist and investigative reporter, in musicology as a leading advocate and performer of folk music, and in the nascent movie industry as a consultant and film critic. He also dabbled in political activism, children’s literature, and novels. Not only does Quinley, a retired college administrator and professor, hail Sandburg as a 20th-century icon (“If my grandpa asks you a question,” his grandchildren joke, “the answer is always Carl Sandburg”), but much of his own life has been adjacent to that of the poet as well. Born in Maywood, Illinois, a “few blocks” from Sandburg’s home 30 years prior, Quinley would eventually move to the Appalachian Mountains. He lived just a few miles from Sandburg’s famed residence in Hendersonville, North Carolina. As a docent for the Carl Sandburg Home National Historic Site, the author was often asked for literature about the luminary’s life. And though much has been written about Sandburg, biographies on the iconoclast are either out of print or are tomes with more than 800 pages. Eschewing comprehensiveness for brevity, Quinley seeks to fill this void in the literary world by offering readers a short introduction to Sandburg’s life and writings. At just 122 pages, this accessible book packs a solid punch, providing readers with not just the highlights of Sandburg’s life, but also a sophisticated analysis of his passions, poetry, and influence on American culture. This engaging approach that’s tailored to a general audience is complemented by an ample assortment of historical photographs. And while its hagiographic tone may annoy some readers, this slim volume is backed by more than 260 endnotes and delivers an extensive bibliography for readers interested in learning more about the 20th century’s “voice of America.” A well-written, concise examination of a literary legend Kirkus Indie, Kirkus Media LLC, 2600 Via Fortuna Suite 130 Austin, TX 78746 indie@kirkusreviews.com

It’s a beautiful thing to be in Hollywood... the feeling of it... that classical glamour never dies.” She walked to the closet and back to the bed. “The actress lives a beautiful life once at a certain level... when her sink has a view and her phone calls aren’t rejections anymore, but producers, offices, playhouses in London, a director pitching his sacred screenplay. The food gets healthier, people around you are more positive... driving in traffic is even different because your car is nice, and the music you normally hate sounds different when life works... when you get the furniture you want... And mentors pass down movie posters from their mentors—so Hepburn never really dies. You keep it in your home... there’s room for everything... I treasure letters from other artists... studio invitations... Being a woman in Hollywood is entirely different than a man’s experience. All the time, by everyone, for everything, a woman is wanted... dinners... so many dinners... so many scripts lying around the room, in the sun... the people you have yet to meet... it’s not about fame—I do not care for the public praise... but what is truly compelling is when you make it big, you finally understand why there are palm trees in this city... Los Angeles suddenly turns on. Like a bulb you thought disliked you and would never light. But it lights. Of course, one must put the cocktail down, leave the house, and make more movies. But this is to say, the after hours are nice. When the camera is off and I return home, I get to love what is left.

The show also gave me the opportunity to sing its theme song, “Follow Me,” which was cowritten by my sister. I recently produced and recorded a modern version of the song. In an effort to assuage the fans, I asked many of my original castmates to shoot a video for the song’s reboot. It was tricky because we did a one-day shoot complicated by the protocols of COVID-19. The shooting schedule for that day was insane, with temperature checks and sanitation requirements. Once we all got back into a room together, the years apart vanished. We arrived as adults but performing brought us back to 2004. The release of the song and video spurred new rumors about a Zoey 101 reunion show. I am excited at the prospect of working on another Zoey 101 project, whether that be a long-format movie or series. The cast is eager to reunite and bring the characters into the present. We have been in talks to reinvent the series. Producers and writers have shared some concepts that sound intriguing. Hopefully, a modern-day version will go into production soon.

Think of it this way. I’m like the end of the movie.” “The end of what movie?” “You know how in the movies there’s always this person who wishes they were super successful, and then they get everything they thought they ever wanted. The fame, the money. All of it. Time passes, and they realize it’s not enough and long for the simple life when they did art for art’s sake. When there were no pressures or fake people. They give it all up and go back to being ordinary.” I flash him my coyest smile. “I just skipped all the fame, fortune, and chaos part and went straight to the ending where I dance for the fun of it.” Tyler runs his hands over my hair and then cradles the back of my head. “The end of the movie, huh? There’s one thing missing from your plotline, you know that?” “What?” “A romantic interest.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests. (He

CARY GRANT IS THE MCCARTNEY OF MOVIE STARS—HIS STORY has much to tell us about Paul’s. They share a spiritual connection, beyond their pronunciation of “Judy.” (Paul described his “hey Judy-Judy-Judy” ad libs as “Cary Grant on heat.”) They dazzled Americans as the ultimate English dream dates—yet both were self-inventions, street guys who taught themselves to pose as posh charmers. Both grew up working-class in hardscrabble industrial cities; both lost their mothers at a young age. (Grant, whose real name was Archibald Leach, was nine when he was told his mother had gone on a trip; more than twenty years later, after he was famous, he learned she was locked up in an institution and got her released.) Both dropped out of school to fight their way into the sleaziest sewers of show biz—Grant joined a troupe of traveling acrobats, which must have been an even rougher scene than the Reeperbahn—yet to them it was a world of freedom and excitement. But both found lasting fame by turning on the charm for Americans who saw them as dapper gentlemen. “Everyone wants to be Cary Grant,” Grant once said. “Even I want to be Cary Grant.

With the Fame movie, the original, not the remake (for the love of God, not the remake from 2009), I enjoyed it immensely and it made me want to go to the New York high school that the movie was based on.

Karen and I went down to the movies on a bicycle. I was peddling; she was sidesaddle. It must’ve been April 29, 1986. I have no idea what movie was playing. My roommate came running into the theater and told me the 49ers had just drafted me. He literally ran there. It was just down the hill from campus, and he was so excited. He was breathing heavy when he told me they were on the phone. He said they wanted me to call them back. I didn’t know whether or not he was doing a prank, so we stayed and finished the movie. It wasn’t a prank. They took me in the fourth round with the 96th overall selection.

Conspiracy theorists thought Holden was murdered, citing his CIA connections and the “locked-room” theory, while movie fans the world over were shocked and amazed that a man with his fame and wealth had died in such a horrific manner.

Eat- Yō Sandwich (Lunch) It is a foot long; Ha- better than six inches, said Maddie. Karly- Suck on your meatballs… ‘You should know you’ve done both.’ Some girl down the table- said. Let’s talk about books, said Olivia. God just shot me in the head, so I can die, ha- hey see the sped? Nice- book’s- Maddie- ha! Karly- I think movies like Twilight freaking suck, (Throwing both middle fingers in the air making a skilling face.) The sporting actress made fame, what it is. Look at her and the look at that, what is- that, I love Anna Kendrick? Teach walking by saying that a mother-week Barns. Liv- I think she would have made a better Bella, than the girl with no personality, yet that’s the book I read that thing and it was painful. I guess that my assignment in life is over my Karly kiss my ass where it is brown and holy! And that another one, sure it is… Suck my clit. No! Yes, you want to! (Sexy eyes) That's it- you're expelled- Good now I can party and have some fun sleeping and not doing this crap, so you're going to punish me by not being here, freak yeah! The towing sickness of a teacher whose name is Mr. Abdèlaziz Okay smart-ie, in-school suspension, then right. Karly- Freaking-, ho-bag, psycho, b*tch, p*ssy-tart- cunt! Under her breath. (She gets taken out by her hair, by the officer what’s his name, roughly, I might add.) Like who paints a room all black, and faces the desks at the wall, where you could only piss two times… no air to speak of and some fat ass smelling like crap farting up and down the five by thirdly long skinny room, next to you is what… I got six out of seven freaking hours, all week I might add. ~*~ (Flashback) I love bands that are not cool so what do you do here? Freak yeah, at least I made it as one of our dumb ho’s… in a short skirt that shows nothing under it, to think I made it, wow good to think… you think I am good enough to be the same look, and size or whatever, yet you can’t say the N-word or a knotty little swore ward… Yet- yet- teachers can call me every name you can think of… in the urban book of crap, like I cannot even wear a tank… without a bra in the halls, yet, this girl can… do you see all the bouncing, and nipples pointing, at you, I sure do?

Today, kids want to be famous athletes, movie stars, rock stars, beauty queens, or CEOs because that is where the fame, money, and prestige are. That is the reason it is so hard to motivate kids in school today. They know that professional success is no longer solely linked to academic success,

My father fell hard for Spade. He was impressed by Spade’s fame and enjoyed having someone around who was as encyclopedic about old movies as he was. But their connection was deeper than that. They had both grown up bookish, lonely, only children with family roots buried deep in the Wisconsin permafrost. Both men had caught the big midcentury culture swell and ridden it to respectable fame and reasonable fortune. Both wrote in first draft, both were published by Alfred A. Knopf, both had questionable personal hygiene and an abiding love of processed meats. Both of them loved me devoutly. Whenever I brought them together, I could feel something knit together inside of me.

One thing the prep for the movie made me realize: Chris and I had gone through a lot in our short time on earth. We’d known war, we’d known the joys of birth--and the tremendous hurt of death. Hard times, defaults, large checks, big taxes, and fame. We’d run the gamut. And we’d been in love the whole time. The last month of his life was the best of our marriage. The year leading up to it was the best we’d ever had, outside of our first. We’d started on a high level and moved up. How many people can say that? I’m not saying the good times would have gone on forever. I’m sure there would have been difficulties and other trials, dark clouds. But to have had those moments of seemingly perfect love and happiness--I was truly blessed.

Pornography is a way of democratizing the quest for sexual fulfillment, making a pantheon of sexuality available for everyone. It is also a kind of sad, pathetic effort at redemption. It is a religious event, where sacrifices are made of money and dignity, and the god of fornication promises to the priests (the porn stars and filmmakers) fame and wealth, and to the acolytes (the consumers) a transcendent and satisfying sexual experience, something “hot,” “raw,” and “real” that is otherwise unavailable in their ordinary and often lonesome lives. But again, it’s only as satisfying as a meal, and the appetite will need to be fed again and again.

JOURNALIST— (3) TERRIFIED TO DISAPPOINT MISS HABER AND HER READERS, WE WILL TRY TO ACCOMMODATE HER “FASCINATING RUMORS, SO FAR UNCHECKED” BY BUSTING UP OUR MARRIAGE EVEN THOUGH WE STILL LIKE EACH OTHER. JOANNE & PAUL NEWMAN This was a stunner, and it got folks talking. The Newmans’ marriage, then eleven years along, was considered stable: all those kids, the famed Connecticut home, the films they’d worked on together, the collaborative success of Rachel, Rachel. It didn’t seem right. Gossipy movie fan magazines had often tried to goose a few sales out of articles speculating that the Newmans were at odds with each other (“Shout by Shout: Paul Newman’s Bitter Fights with His Wife”; “Strange Rumors About Hollywood’s ‘Happiest Marriage’”) or that forty-three-year-old Newman was feeling randy and seeking consolations outside the home (“Paul Newman’s Just at That Age”; “Is Paul Newman’s Joanne Too Possessive?”). Invariably, they all stopped short of actually announcing real trouble or accusing Newman of adultery. The Newmans were supposed to be examples. But this strange advertisement didn’t so much squelch rumors as give people reason to wonder about them. They didn’t have to wait long for a fuller story. Later that year a gossip magazine

Sitting in the Jacuzzi is where I got the idea for my speech to the American people after the events of January 6, 2021. Like most people, I watched the riots unfold at the US Capitol on television and then in great depth on social media. And like most people, I went through a range of emotions. Disbelief. Frustration. Confusion. Anger. Then, finally, sadness. I was sad for our country, because this was a dark day. But I also felt bad for all the men and women, young and old, whom the cameras found, as television networks covered the historic moment and broadcast their angry, desperate, alienated faces across the planet. Whether they liked it or not, this was going to be the mark those people left on the world. This would be their legacy. I thought about them a lot that night as I sat in the Jacuzzi letting the jets loosen up my neck and shoulder muscles, which were tense from the stress of the day. I slowly came to the conclusion that what we all watched that day wasn’t the exercise of political speech, it wasn’t an attempt to refresh the tree of liberty with the blood of patriots and tyrants, as Thomas Jefferson might say . . . it was a cry for help. And I wanted to help them. Since 2003, that has been my life’s focus. Helping people. Public service. Using the power that comes with fame and with political office to make a difference in the lives of as many people as possible. That was the direction my vision took for the third act in the movie of my life. But this was something different. Something more. I was watching all these videos and reading real-time updates on Twitter and Instagram from people who were there. Protesters. Police. Bystanders. Reporters. If they could reach me through social media, I thought, then I could reach them.

Hollywood is a collection of people without souls, pretending to be people with souls.

The notoriety added a dimension to her disease. Yes, the Munchausen by proxy was the most dangerous part of the abuse, but it also acted as a backstage pass to my mother’s internal cinematic show. Whatever that movie in her mind was, I wasn’t the star of it. When the press arrived, she’d be doing all of the talking, while I numbly waited for my cue. Like a stage mother, Beauty Queen Dee Dee fed me my lines: “It’s a dream come true,” “This makes me so happy,” “My mom is my best friend.” Through me and through the script we memorized, Dee Dee could achieve some level of the fame she had long desired.