Blog Redesign

The new blog redesign is now live. I’m still working out some bugs and you can expect a few more minor tweaks in the coming weeks but hope you like the new cleaner look. It should look better on most mobile devices and I’ve updated the About Cinebeats page with more info about who I am and what I do.

Also want to  mention to my fellow music fanatics that I’m back on Last.fm after a long absence. The sites been undergoing some changes but it remains the best music social network online and I’m proud of the contributions I made to the site (a lot of the info there about Italian, Japanese and British film composers as well as J-sound artists was partially contributed by yours truly in the early stages of Last.fm). If you’re on another music site such as Spotify you can now link your account with Last.fm. Members can find me here: http://www.last.fm/user/cinebeats

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Admission is Free at The Phantom Playhouse!

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To celebrate Shocktober & the upcoming 10th anniversary of this blog I decided to create an extension of Cinebeats called The Phantom Playhouse devoted exclusively to horror cinema and all things dark, dreary, decadent and delightful.

Horror has always been my favorite film genre and I write about it more than any other subject so I’ve collected 10 years of horror focused writing and organized it in one easy to navigate site.

I’m also working on a sleek new redesign of Cinebeats that will follow its lead so both sites will soon share a similar look.

Please stop by and visit The Phantom Playhouse. Tickets are free and the doors are always open!

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The National Film Registry: Little Big Man (1970)

I was recently extremely honored to be contacted by an employee of the Library of Congress who told me that my 2010 essay on Arthur Penn’s controversial film LITTLE BIG MAN (1970) had been selected by the National Film Preservation Board to be included on the National Film Registry website as part of their ongoing work to “ensure the survival, conservation and increased public availability of America’s film heritage.” LITTLE BIG MAN was one of 25 films that the National Film Registry preserved in 2014 and it’s a film that’s near and dear to my heart. Not only is it my favorite Arthur Penn film but as the step-grandchild of a Native American grandfather who treated me as if I was his own flesh & blood and played an important part in making me the woman I am today, I have a very personal connection to LITTLE BIG MAN.

My essay (which I originally wrote for Turner Classic Movies) is highly critical of the U.S. Government’s treatment of Native Americans as well as the Vietnam War so I’m rather surprised that it was selected as a text that’s now officially associated with the film. And as a history buff who spends much of her time watching PBS specials & reading non-fiction books about America’s past I honestly can’t think of a higher honor than to have something I wrote affiliated with the Library of Congress and the important work done by the National Film Preservation Board.

So without further ado, I’ve decided to re-post my essay below and you can find my original text on the TCM website.

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LITTLE BIG MAN’S BIG IMPACT by Kimberly Lindbergs

Few film genres have captured the imagination of movie audiences with the same kind of power and persuasiveness as the American western. For decades Hollywood mixed facts with fiction and created a kind of celluloid mythology that made heroes out of cowboys, would-be settlers and the U.S. Cavalry. Unfortunately this myth-making led to the vilifying of Native Americans who experienced incomprehensible suffering and losses that went undocumented in our history books and were unseen in our movies. Occasionally Hollywood would offer up subtle suggestions of the injustices and racism that Native Americans experienced but the limited scope of these films often marred our general understanding of the people who once populated this beautiful country. In 1970 that all changed.

The decade began with an important event in Native American history. On November 20, 1969, 79 American Indians began a 19-month long occupation of the abandoned prison on Alcatraz Island in the San Francisco Bay. The occupiers demanded the return of Alcatraz Island and expressed their desire to have an Indian cultural center and university built there. The U.S. Government ignored their demands and on June 11, 1971 the occupation of Alcatraz came to an end but the event brought world-wide attention to the plight of American Indians and helped strengthen the resolve of AIM (American Indian Movement).

During the occupation of Alcatraz, Dee Brown published his unprecedented Indian history of the American west, Bury My Heart at Wounded Knee. This best-selling book detailed the genocide of the American Indians and changed the way Americans perceived their country’s complicated past. At the same time a new type of western was taking shape in Hollywood that challenged the way American Indians had been depicted in previous films. These revisionist westerns included A MAN CALLED HORSE (1970), SOLIDER BLUE (1970) and Arthur Penn’s LITTLE BIG MAN (1970).

LITTLE BIG MAN, which was based on Thomas Berger’s novel of the same name, chronicled the long and troubled history of Jack Crabb (Dustin Hoffman), a 121-year-old man whose family was killed by the Pawnee Indians when he was only 10. He’s saved by the Cheyenne Indians (longtime enemy of the Pawnee) who raise him as one of their own tribe members. Jack comes to love and respect the Indians who refer to themselves as “human beings.” Throughout the film Jack Crabb is torn between two worlds. The world of the white men who are often depicted as religious hypocrites, murderous gunslingers, racist brutes and money hungry capitalists willing to do anything in order to make a buck. And the more earth conscious world of the Native Americans who are trying to survive while their own way of life, identity and human dignity is being stripped from them by the U.S. Government.

If my description of the film seems heavy-handed it’s because LITTLE BIG MAN is often a very heavy-handed film. Arthur Penn wasn’t merely interested in making a movie that challenged the way Hollywood had mythologized the history of the American west. The director was also responding to the war in Vietnam that had led to well-publicized atrocities such as the My Lai Massacre that took place in 1968. Penn had never shied away from showing violence in his films before but the relentless brutality depicted in LITTLE BIG MAN bothered some of the nation’s leading film critics. The movie detailed an ugly and little seen side of war that often led to the killing of innocent civilians including unarmed mothers and their children but it didn’t stop there. Indians were shown viciously killing one another while children coldly murdered adults and animals were brutally slaughtered by the Indians for food as well as by fur trappers for mere profit. Death was usually depicted as violent, sudden and bloody in LITTLE BIG MAN, which led critics like Vincent Canby of the New York Times to say that the film “wears its social concerns so blatantly that they look like war paint.” And the respected critic Pauline Kael, who had championed Penn’s previous film BONNIE AND CLYDE (1967), thought that LITTLE BIG MAN was “just crude, ideological filmmaking.”

Thankfully the movie did have its defenders and audiences flocked to it. The American public was eager to experience an anti-establishment western that questioned everything that had come before it, even if Penn’s sledgehammer approach to his subject was often seen as crude and self-conscious. The criticisms of LITTLE BIG MAN seem rather ridiculous now when you consider the decades of misrepresentation that Native Americans had to suffer through. Arthur Penn knew that he needed to hammer home his point in order to breakdown the seemingly impenetrable wall of ignorance that had been built around the history of the American west. But the film softened its bold attack on Hollywood myth-making with humor and human pathos.

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Penn shot LITTLE BIG MAN on location with help from cinematographer Harry Stradling Jr. and their use of actual historic sites, including Little Bighorn as well as Indian Reservations in Montana, gave the film a realistic edge that was rarely seen in previous depictions of the west. Penn clearly enjoyed playing with the public’s perception of historical events in films like THE LEFT HANDED GUN (1958) which focused on the outlaw Billy the Kid as well as his critically acclaimed hit BONNIE AND CLYDE but LITTLE BIG MAN was a more urgent and angry movie. It illustrated an epic tragedy of immeasurable proportions but still managed to be one of the director’s most entertaining and personal films.

The film also provided its star with one of his most challenging roles. Dustin Hoffman had become a popular counter-culture figure thanks to parts in memorable movies such as THE GRADUATE (1967) and MIDNIGHT COWBOY (1969). His impressive acting skills, short stature, self-depreciating humor and universal appeal had made him a world-wide star who didn’t fit neatly into Hollywood’s idea of a typical leading man. The role of “Little Big Man” seemed tailor-made for Hoffman and he is unforgettable as Jack Crabb. Unlike many films that turned their leading men into heroic outsiders who lead the Native Americans out of danger, Hoffman’s character is a fumbling, weak-willed anti-hero who rarely succeeds at anything that he attempts to accomplish. The 33-year-old actor had to age 88 years in the movie which was achieved by using the services of skilled makeup artist Dick Smith. Hoffman also spent an hour screaming at the top of his lungs before shooting so his voice would sound as ragged as he looked. As good as Hoffman is in LITTLE BIG MAN, his extraordinary performance in the film is occasionally eclipsed by his costars.

Faye Dunaway is well cast as a reverend’s wife who turns to prostitution after her husband dies and Martin Balsam does a terrific job of playing a resilient con man. I also appreciate Jeff Corey’s portrayal of Wild Bill Hickok and Kelly Jean Peters is very good as Hoffman’s Swedish wife. One of the film’s most memorable performances is delivered by Richard Mulligan who plays General George Armstrong Custer. Mulligan was a brilliant comic actor who depicted General Custer as an egocentric madman hell-bent on the destruction of Native Americans. In previous films Custer was typically presented as an untarnished hero but Mulligan’s crazed performance gave the public a very different version of Custer to consider.

What really set the film apart from so many previous westerns was its depiction of Native Americans. The Cheyenne are not merely noble savages or bloodthirsty Braves in LITTLE BIG MAN. The tribe that raises Dustin Hoffman’s character is made up of gay Indians (Robert Little Star), angry lunatics (Cal Bellini) and sexually motivated squaws (Aimée Eccles, Emily Cho, Linda Dyer, etc.). These would have been fringe characters in any Hollywood film made in 1970 but their appearance in a western was truly groundbreaking. Penn’s film humanized Indians in a way that few Hollywood films had dared to in the past and they suddenly seemed as complex and divided as their white brothers and sisters. They were our neighbors, our friends and family members.

If a film can have a soul, that part was played by Chief Dan George who portrayed Dustin Hoffamn’s adopted grandfather Old Lodge Skins. Originally actors as diverse as Marlon Brando and Lawrence Olivier had been considered for the role but thankfully they turned it down. Hollywood had rarely employed actual Indians in the past but Chief Dan George was the real Chief of the Burrard Band of North Vancouver in British Columbia. He brought his personal experience to the role and gave a voice to Native Americans everywhere. His sensitive and humorous portrayal of Old Lodge Skins won the hearts and minds of movie-goers around the world and he was nominated for many awards including an Oscar for Best Supporting Actor.

Today LITTLE BIG MAN is often dismissed as a dated relic and when the movie is written about or mentioned it can’t seem to escape the shadow of the Vietnam war but Arthur Penn’s film is much more than just an angry anti-war tirade. It universally changed the way that audiences viewed Native Americans and it helped to broaden our understanding and interpretation of American history. Few films can make such lofty claims but I don’t think the importance of LITTLE BIG MAN should be underestimated. Sometimes a rare film comes along that actually changes the world and makes it a more interesting place to live in. Arthur Penn’s LITTLE BIG MAN is one of those films.

December at the Movie Morlocks

cc38 Links to my December 2014 posts at the TCM’s Movie Morlocks:

Holiday Greetings from The Ghost of Christmas Yet To Come!
Excerpt: “Dickens’ novella was first conceived as a political pamphlet designed to arouse the public’s compassion for the plight of the poor but to his credit, the writer realized his strength was in storytelling so instead of hammering out a straightforward screed against social injustice he wrote a ghost story that would haunt sympathetic readers for more than a century. A Christmas Carol has been adapted for the screen many times beginning with a number of short silent films and most recently as a 3D animated feature produced by Walt Disney Pictures. The 1938 version tends to get overlooked in the glut of screening options available and it’s also burdened by the fact that the late great Lionel Barrymore was supposed to star as Scrooge but was eventually replaced by Reginald Owen due to serious health concerns that had left him wheelchair bound. Critics have cited its gentle nature and point out that many of the darker elements of Dickens’ original story were removed in order to make the film more family friendly but that dismissal overlooks the fact that the 1938 MGM production contains one of the most frightening and disturbing filmed encounters with the Ghost of Christmas Yet to Come. And for that reason, as well as others, it’s a movie well worth recommending.”

“Discover a savage world whose only law was lust!”
Excerpt: “Today TCM is airing a batch of great fantasy and adventure films produced by Hammer starring some of the studio’s most memorable leading ladies including the exotic brunette beauty Martine Beswick in PREHISTORIC WOMEN (1967), blond bombshell, Ursula Andress in SHE (1965) and the ravishing redhead, Raquel Welch in ONE MILLION YEARS B.C. (1966). ONE MILLION YEARS B.C. is undoubtedly the most popular and widely seen film of the bunch thanks to a lucrative distribution deal with 20th Century Fox and financing from Seven Arts Productions that allowed Hammer to hire the up-and-coming Welch and procure the services of special effects maestro Ray Harryhausen. The bigger budget for ONE MILLION YEARS B.C. also allowed Hammer to shoot the film on the exotic Canary Islands where the rocky volcanic landscape and lush beachfronts made for a surprisingly believable primordial setting. The plot was based on the similarly titled 1940 Hal Roach film starring Victor Mature, Lon Chaney Jr. and Carole Landis that was nominated for a number of Academy Awards. The Hammer remake didn’t receive any award nominations but it did become the studio’s most commercially successful film and it made Raquel Welch an international star.”

The Wonderful World of Disney Comes to TCM
Excerpt: “As a kid growing up in 1970s my Sunday nights revolved around The Wonderful World of Disney. It was my cherished respite before the much dreaded school week began and I savored every last minute spent in front of the family television set. At the time, residents in the San Francisco Bay Area where I was born and mostly raised, only had access to 10 or 12 available channels to choose from and many of those were locally run and operated. There were no video stores renting movies in those days and the idea of streaming films directly into your own home was merely a faraway fantasy. In these limited environs, The Wonderful World of Disney offered kids and adults of all ages a surprisingly diverse and family friendly smorgasbord of programming that included animated and live action films, nature documentaries, educational shorts and special broadcasts made especially for television. Much to my delight, Turner Classic Movies has recently teamed-up with The Walt Disney Studios for a new on-going program called Treasures from the Disney Vault hosted by Ben Mankiewicz and film critic Leonard Maltin that’s making its debut this coming Sunday night on December 21st. TCM’s impressive 8-hour block of television is a throwback to The Wonderful World of Disney of my childhood and I hope it will introduce a new generation to the wonderful treasures hidden deep within the vaults of the Disney Studios.”

Celebrate Like the Stars
“There are some universal truths in life that we can probably all agree on. The world is round. Cary Grant looks damn good in a suit. Washington, D.C. is the capitol of the United States. And classic Hollywood sure liked to drink. The bottled spirits flowed freely in movies made from the silent era, through the Prohibition and well into the 1970s. So freely in fact that you’d be hard-pressed to find an adult film that didn’t show a scene of someone drinking, refer to booze or offer a glimpse of something vaguely referencing the sauce that seemed to keep Hollywood running. It may have just been a bottle of empty scotch placed casually in the background of a scene or a six-pack of beer spotted in an open fridge. There’s just no denying that many of our favorite film performers regularly shared bottles of the bubbly (and not so bubbly) on screen but this love of liquor also continued off-screen.The recently published book, Of All the Gin Joints: Stumbling through Hollywood History by Mark Bailey, offers readers an interesting look into the drinking habits of some of Hollywood’s most beloved and recognizable stars including Charlie Chaplin and Errol Flynn. To celebrate the holidays I thought I’d share a few cocktail recipes from the book that you can make at home.”

H.R. Giger 1940-2014

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I was disappointed to learn that H.R. Giger has died at age 74. He was a brilliant man and one of my favorite artists. In recent years he was still active and his work has been on my mind a lot following the release of PROMETHEUS (2012). I hoped that we’d get the opportunity to see more of his film production work before he left us.

Besides making incredible art and sculptures, Giger also dabbled in filmmaking with Swiss director Fredi M. Murer and they produced a number of short films based on Giger’s work including HEIMKILLER AND HIGH (1968) and SWISS MADE 2069 (1969). My favorite of Giger’s short film experiments is SECOND CELEBRATION OF THE FOUR (1976), which was a sort of funeral dirge for his first wife, actress Li Tobler, who committed suicide. It’s an eerie, esoteric and unsettling little slice of cinema that recalls scenes from some of my favorite horror films and it seems appropriate to share it here today.

At Cinebeats & The Movie Morlocks:
Prometheus Unbound: Ridley Scott & Me
In Space No One Can Hear You Scream

Further Reading:
HR Giger Obituary at The Guardian
H.R. Giger, Surrealist Artist and ‘Alien’ Designer, Dead at 74 at Rolling Stone
H.R. Giger, 1940-2014: the Xenomorph’s father by Matt Zoller Seitz

Alain Resnais 1922-2014

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“When men die, they enter history. When statues die, they enter art. This botany of death is what we call culture.” – (STATUES ALSO DIE; 1953)

I was deeply saddened to wake up to the news that director Alain Resnais has died at age 91. Resnais has continued to make movies into his 90s and just last week I made time to watch YOU AIN’T SEEN NOTHING YET (2012), which I’m still ruminating over. And the director’s film JE T’AIME, JE T’AIME (which I have never seen and has never been released on video or DVD is the U.S.) has been on my radar lately because it’s currently touring revival theaters and getting lots of critical attention.

Resnais’ obsession with memory and our shared as well as personal histories is what drew me to his work and I can honestly say that he’s one of a handful of directors who – through his films – taught me new ways of looking at my world. I’ve mentioned or written a little bit about his films HIROSHIMA MON AMOUR, LAST YEAR AT MARIENBAD and MURIEL here at Cinebeats in the past and to celebrate his incredibly rich career I thought I’d share a selection of images from some of my favorite Resnais films.

At Cinebeats:
HIROSHIMA MON AMOUR appears on my List of Favorite Foreign Language Films
Art Film as Fashion Trend: LAST YEAR AT MARIENBAD
Some thoughts on the DVD release of MURIEL

Further reading:
Guardian Obituary
New York Times Obituary
Fandor: Alain Resnais, 1922 – 2014

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STATUES ALSO DIE (1953)

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HIROSHIMA MON AMOUR (1959)

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LAST YEAS AT MARIENBAD (1961)

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MURIEL (1963)

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PROVIDENCE (1977)

Happy New Year!

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After a year long hiatus Cinebeats is back. I plan to start updating the blog regularly again so you can expect lots of new content in the future. My posts might be brief and only include a screen grab or a video but Cinebeats is alive once again and kicking.

I decided to streamline the design and the blog should be easier to read on mobile devices now. There are still many broken links that I need to fix thanks to being forced to transfer Cinebeats from Blogsome (which closed up shop) to WordPress but I hope to have them corrected by the end of the year. TTFN!

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One Year & Many Ideas: Occupy Cinema


Today marks the one-year anniversary of the Occupy Movement, as well as the Occupy Cinema Movement, which I first wrote about here. If you follow the link to my original piece you’ll find that many websites I linked to are dead and abandoned, which is a shame. The Occupy Cinema Movement originally had some great intentions and I thought it was one of the most interesting, creative, viable and sustainable ideas that emerged from the Occupy Movement but there didn’t seem to be a lot of interest in supporting it or expanding it. Aggressive political activism and attempts to effect social change with cinema are issues that modern filmmakers as well as critics, film scholars and many of my fellow film bloggers, generally avoid. But using film projection in protest is an idea that I still think is worth exploring and discussing.

The most noteworthy person currently using guerrilla-style projection as an activism tool is Mark Read, who is best known for projecting a giant “Bat Signal” with illuminated text like “99%” “Another World is Possible” and “Don’t Be Afraid” on New York’s Verizon building while thousands of demonstrators marched across the Brooklyn Bridge on November 17, 2011. Read’s creative protest was one of the most important & powerful moments in Occupy’s complicated history but it wasn’t his last. He’s currently trying to raise money and awareness by asking supporters to donate to a Kickstarter campaign that will help fund the Illuminator project and keep it running. The goal of the Illuminator project is to gain enough funds to help buy and maintain a number of Illuminator vans that will be equipped with powerful projectors that will allow them to participate in various protests in different locations across the US. It’s an ambitious idea and one well worth supporting. Read and his crew recently used one of the Illuminator vans to protest the arrest & imprisonment of the Russian female punk band Pussy Riot by projecting “Free Pussy Riot” on the Russian Consulate building in New York.

If the Occupy Cinema movement wants to survive it will have to follow Mark Read’s lead. I like imagining a world where Occupy Cinema activists are able to buy & maintain mobile theaters much like these Mobile Drive-In Theaters or even the somewhat limiting Cinetransformers that seat nearly 100 audience members. That way they could easily participate in various protests across the country or create their own politically minded events. Imagine hundreds of mobile drive-ins rolling into towns across the country and sharing films that promoted a cause, illuminated particular ideas or documented history for free. This is just one idea and it would take money to fund these mobile cinemas but like Mark Read, other Occupy Cinema leaders could turn to Kickstarter and social media sites for help as well as reach out to various organizations. It would also be extremely helpful if more filmmakers, critics, scholars and my fellow film bloggers supported the idea of Occupy Cinema.

I personally think the arts are the world’s most effective tools for promoting change. No political speech can match the impact of hearing Bob Dylan sing “The Times They Are a-Changin” or Bob Marley and the Wailers belting out “Get Up, Stand Up.” No political pamphlet can possibly be as effective as Dalton Trumbo’s Johnny Got His Gun or Joseph Heller’s Catch-22 and no campaign ad can compare to the experience of watching John Ford’s The Grapes of Wrath, Barbara Kopple’s Harlan County U.S.A.,  Haskell Wexler’s Medium Cool (1969) or Steve McQueen’s Hunger (2008). The transformative powers of cinema are limitless but reaching a receptive audience isn’t easy. Occupy Cinema has the potential to promote positive change but it can’t do that without lots of support.

Unfortunately, mainstream news programs have stopped covering the Occupy Movement even though pockets of it are still very active and alternative news sources have shifted much of their focus to other topics such as the current election. Out of site means out of mind in today’s frenzied news cycle and as attention spans continue to shrink it’s important that anyone involved or interested in Occupy Cinema maintain a visible presence online as well as on the ground. This can be difficult when a movement isn’t run by conventional means. Like the original Occupy Movement, which frustrated journalists trying to pigeonhole it, Occupy Cinema seems to be a collective idea that welcomes all kinds of participants with different motivations and varying degrees of participation. But being active on social media sites like Twitter, Facebook and Youtube is important and promoting events like the recent Occupy Film Festival in New York is vital so that the ideas behind Occupy Cinema can survive and thrive even if its initial participants lose interest.

I hope the one-year anniversary of the Occupy Movement will help revitalize the concept of Occupy Cinema and encourage future activities and events that help promote change. Or at the very least, it might remind us of how powerful cinema and the projected image can be while inspiring us to find ways we can use cinema to provoke social and political change in our own lives.

Further Reading & Viewing:
Occupy’s ‘bat signal’ tries to keep the movement in spotlight by Peter Rugh
“Occupy Bat Signal” Artist Returns With “Occupy Batmobile,” Codenamed “The Illuminator” by Benjamin Sutton
The Illuminator official site
Occupy artists take message to streets from BBC News
Occupy the Film Festival by Michelle Chen
Occupy Cinecittà – Workers of the Italian film industry protest as the famous studios of Cinecittà in Rome face closure after a disastrous privatization from Struggles In Italy
Occupy Cinema on Vimeo
Magnificent Revolution promoting ‘Bicycle Powered Cinema’ in the UK

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Goodnight Phyllis, We Love You

I was disappointed to learn that Phyliss Diller had passed away last week so I devoted my recent Movie Morlocks post to her titled, Goodnight Phyllis, We Love You. Here’s a brief excerpt from my post:

The wife, mother and career woman who started life as Phyllis Ada Driver on July 17, 1917 didn’t share much in common with the funny character she created on stage. Diller didn’t smoke and the cigarette holder she always carried was merely a prop. Her husband ‘Fang’ was a fictional creation that didn’t resemble either of her two very real husbands. And while she enjoyed mocking domesticity, Diller actually enjoyed being a mother. She also loved to cook and by all accounts was a terrific chef who referred to her kitchen as the “favorite room” in her house. She liked to come across as an uncultured and unsuccessful housewife but she was actually a whip smart classically trained pianist, a jazz enthusiast, an acclaimed artist and a brilliant gag writer who wrote all of her own material. When she was performing Diller appeared to be utterly confident and self-assured even while she was cracking jokes at her own expense but she was actually deeply insecure about her appearance. She eventually resorted to countless plastic surgery procedures in an effort to transform her face and body. Simply put, Phyllis Diller was a bundle of contradictions if you believed her stage persona was actually self-referential. Much like Lucille Ball who created the ditzy character of Lucy, Phyllis Diller created an imaginary stage character that acted as a filter for her jokes and had little in common with the real woman hidden behind the carefully constructed costumes and wigs. But Diller the woman and Diller the stand-up comic both had a generous sense of humor and I’m grateful that she was able to share that with us.

To read more just follow the link . . .
Goodnight Phyllis, We Love You @ TCM’s Movie Morlocks blog

Further reading . . .
Party Tips From Phyllis Diller

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Mid-Century Living Is On the Move

Most of my regular blog readers are aware that I have another blog called Mid-Century Living where I share updates about my ongoing home restoration/renovation project as well as vintage Americana and other fun stuff. I recently moved Mid-Century Living over to WordPress so I could manage all my blogs easier and wanted to make note of those changes here. I also uploaded some images from a 1964 Sears catalog that happened to feature one of my favorite actors, the incomparable Vincent Price, selling art for Sears and I couldn’t resist sharing it. If you’d like to see more images from the old Sears catalog feel free to stop by Mid-Century Living anytime. The site is full of vintage eye-candy.