#alice last had it in 1956 | Explore Tumblr Posts and Blogs

undercaffinatednightmare · 2 years

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What’s this 2? 😱 enjoy my insomnia.

This was supposed to be for Angsty August, but…..life happened.

Swan’s Last Song

(I am unaware of Crawdads in Maine so Where the Crawdads Sing didn’t make sense)

Hints of violence, abuse, and non-con but I kept it vague. Biggest shocker - I didn’t curse 😱

1956

Killian leaned on the doorway and watched the love of his life and daughter walk through the water as it lapped against their ankles. Every now and again, five-year old Alice stopped and pointed at something by her toes. Her mother picked up the object and told whatever stories or magic she knew of the shells before they returned it to the ocean.

It had taken him 20 years to find his happy ending. Now that he had it, he was never letting go.

The ship he’d spent years restoring was moored not far from the cabin they were clearing out.

When they decided to return to the place they both once called home, he offered to finish clearing her former home of anything personal. Soon, the place that had been her isolation would be sold and the last tether of darkness removed from their lives. He found himself anxiously waiting for a time when they no longer needed to look back.

Eyes the color of sea glass met his and the smile that brought sunshine into his life lit the face of the woman he loved. She turned her attention back to their little Starfish and he returned to his task.

The cabin had always been rough and dilapidated, but 10 years without even the minimal care she’d been capable of, left it ready to fall about his ears. The only place left to clean out was the corner she used for storage. Her small library that had once been so precious to them both had been left to mold and rot in the elements. Like he’d been during the years without her.

His eyes fell to the worn copy of Peter Pan sat on the shelf alone. Faded edges of the postcards he sent her over the years peeked out from the pages. Tears blurred his vision as he opened the book. In all their years apart, he’d only sent the same message - Wish you were here. All the places he wanted to take her sat between the pages of her favorite book.

One postcard fell at his feet. The lighthouse she used to keep with the same words he’d used over and over again across the front. On the back, she’d drawn an image of two children sitting reading. The spot they met to read every day.

After his wife and daughter were sleeping soundly in the soft, fluffy bedding of their rented bedroom, he returned to the spot where they’d first fallen in love. It had been love they shared, regardless of what his father or his brother thought. Love of the sea, love of reading, love of each other.

Surprisingly, the lighthouse had been turned into an art studio with paintings and sea glass art all signed by his favorite artist - Cygnus. He shook his head and rubbed a hand over his jaw. Of all the surprises for her to have. After loading her pieces into his truck, he picked up her supply box. The lock popped open and something hit the ground.

Killian bent down and picked up the small, tarnished charm. He closed his fist around the image of a swan and shoved it into his pocket. He continued loading her things until all that was left were the ghosts.

/////////

1945

Killian gripped her slim hand tighter. “Emma, love…” Bloody hell. He couldn’t breathe. He hadn’t seen her in years, but seeing her eyes rimmed red and the resignation in her shoulders made his chest ache. “Mr. Hopper? Could I have a moment?”

“Killian! It’s good to see you again. I’m grateful you made it home in one piece.” His family lawyer smiled and shook his hand. “If it’s alright with Emma?”

Her cheeks brightened and she murmured a quiet, “It’s fine.”

Mr. Hopper led them to the room reserved for the defense counsel and nodded as he shut the door. Emma immediately looked at her hands. “I hear you’re to be congratulated.” He froze. “When is the happy day?” Her smile was still sad, but he knew she meant every word. His Emma didn’t mince words.

But she wasn’t his anymore.

“We haven’t chosen one yet.” He let out a long breath. “Emma, that’s not why - you know that’s not why I came.”

She tilted her head and watched him with those green eyes that always seemed to see into his soul. “Killian, I’ve never wanted anything other than your happiness.”

It was his turn to look down. “That’s my line, surely.” He took a deep breath and stepped closer to her. “Not a day has gone by that I didn’t think about you.”

“Killian?” Eloise sang from the hallway.

Emma nodded to the door. “She needs you, Killian.” Her whisper cut like a dagger to his heart.

“I won’t leave-“

“There you are, darling!” Eloise burst in and kissed him on the cheek. “I’ve been looking for you everywhere. Mr. Hopper was saying he knows someone who can marry us!”

He watched as the two women evaluated each other. Emma’s eyes barely seemed to flicker, but he knew from experience how quickly she could take a person’s measure with that gaze. Eloise, on the other hand, gave Emma the same inspection you would give a bug before you squash it. It was the same look he’d seen others give Emma. It still turned his stomach.

Eloise took his hand and gave him a sly smile. “Come along, let’s go meet Mr. Hopper’s friend. Maybe we can salvage this trip and do some actual wedding planning.”

Killian winced, but reluctantly followed her out. He could have sworn he heard Emma whisper, “Everyone leaves, Killian.”

His father introduced him to Eloise Gardner after he’d returned home from the war. Killian’s ship had been attacked at sea and his left hand permanently damaged. She was the opposite of Emma in almost every way. Eloise was the sort of woman his father always expected him to marry - wealthy, sophisticated, and connected.

But she wasn’t Emma.

The following day, he arrived at the courthouse early and sat in the gallery. His stomach clenched as one resident after another testified against Emma. She sat beside Hopper in a demure navy dress with a white collar. It was the most unEmma-like thing he’d ever seen her wear and for a brief, mad moment, he wanted to laugh.

Sheriff Arthur King was called to the stand and Killian tensed. The sheriff had never been a great fan of Emma’s. “Sheriff King, can you describe for the jury the manner in which you found the victim’s body?”

“Friday, October 22, we received a call from Mr. Robert Gold reporting his son, Neal, missing. He didn’t return home that morning and the family was concerned.” Sheriff King began. “Some kids found his body out by the lighthouse on the island.”

Albert Spencer, their county prosecutor, pounced on his words. “You say he was concerned. Did he have reason to be concerned about his grown son in the town of his birth?”

Killian pinched the bridge of his nose to keep from making any comments. Neal was an ass. They’d been friends as boys, but sometime after Neal’s mother left town, neither of them could stand one another.

“He told his father that a young lady was claiming to be pregnant. I dare say a father or brother about town would be nettled by this, but Neal was a virile young man.” Arthur explained. “There was only one person who was ever seen threatening him.”

“Is that person in the courtroom today?” There was a predatory gleam in Spencer’s eyes as he stared at Emma.

“She is.” Arthur nodded. “Should I point her out?”

Spencer took his glasses off and glanced at the jury. “I don’t believe that’s necessary.” He nodded at Judge Mills. “That’s all, Your Honor.”

“Mr. Hopper? Your witness.” Judge Regina Mills was formidable, but fair. At least there wouldn’t be favoritism to either side. Regina might dislike Emma, but she out right hated Spencer.

“Thank you, Your Honor.” Archie stood and walked closer to the witness stand. “Sheriff King, have you had any issues with the defendant? Any arrests or warnings?”

The sheriff shifted in the seat. “There was an emergency call years ago. I don’t remember the details.”

Archie nodded and looked at his notes. “But you do remember the nature of the call?”

“Family squabble, I believe.” Sheriff King acknowledged. “But as I said, I can’t remember the specifics. Had to have been 10 years ago at least.”

“And nothing since then?” Archie took his glasses off. “I’ve heard all the tales too. The Swan Girl. If half these tales are true, she would be a fearsome creature indeed, but I also heard tales of a young girl, abandoned and left to fend for herself on Swan Island at the tender age of seven. So, Sheriff King, I’ll ask again about that call.”

Sheriff King sighed. “You understand I’d be answering without all the facts in front of me?”

“I do.” Archie replied. “I also trust you to recall that oath you swore a moment ago.”

“That was back when my wife, Gwen, was answering phones for the the station. She said, well, she described it as a little voice, was asking for help.” Arthur explained. “Gwen said she sounded scared and asked me to go check on things.”

“And did you? Go check on things?” Archie pushed.

“Of course I did.” Arthur glared. “Mr. Teach answered the door said his daughter was playing jokes. Said she’d run away again and asked me to help him find her.”

“Were you able to find her?” He asked.

Emma was staring at her hand. She had a scar on her palm that she never told him about. “Wasn’t hard. Little girl making phone calls when her house hasn’t got a phone. She was at a neighbor’s house, hiding. She knew she’d misbehaved and didn’t want to get in trouble.”

“Do you remember how she looked when you found her?” Archie pushed again, still using that calm voice of his.

“She looked scared. I told her what happens when you play tricks on the sheriff and scare your father like that. She got those big, wide eyes like when any kid’s been caught and asked if I’d already been to her house. When I told her how scared her father was, she just stopped talking. I let her think about what she’d done and took her home.” Arthur explained.

Killian stared at the man. He’d known Sheriff King for a lifetime. He thought of him as an honorable man. But he’d missed it. Even now, he didn’t see where things had gone wrong.

“Thank you for that, Sheriff. I have one more question about that day. Did you ever tell her that the sheriff’s job was to take care of the good people and put the bad people in jail?”

“I don’t recall exactly that, but I’ve said something similar to other youngsters over the years.” Arthur acknowledged.

Killian’s heart sank. Emma’s shoulders straightened as Archie looked between her and the sheriff. “You said you never got that call again?”

“Nah and old Ed Teach took off not long after.” Archie shook his head.

“Edward took off. Do you know if he took his daughter?”

“Your Honor, is this really relevant?” Albert objected.

“I believe there’s a key point here, Your Honor, if I may continue.” Archie nodded.

“Alright, but get to your point, Counselor.” Judge Mills warned.

“Thank, Your Honor.” He nodded. “Sheriff, do you know whether or not Edward Teach took his daughter the day he left town?”

“Ed Teach only came home to run the lighthouse and collect his salary. He always said she wasn’t his anyhow. Said he came home from the war and there she was.” Arthur sounded annoyed. “And before you ask, I drove him to the train station myself and never laid yes on him again.”

“Why didn’t he take her to the orphanage when her mother left?” Archie asked.”If he didn’t want the trouble?”

“She was useful after Victoria was gone. How else was he going to get his laundry done?” Arthur shook his head. “And anyways, she took the job when he left.”

Archie looked down at his papers. Killian missed whatever the next question was. His eyes were focused on Emma as she stared straight ahead. She’d only mentioned her father once - ‘He hurt me, but now he’s gone and I’m glad’. He rubbed a hand over his face.

Was he just one more scar across her heart?

/////////

1931

Killian ran the last two blocks to school. The morning had run later than he expected and he and Liam missed the bus. It was still cold enough outside that the air burned his lungs each time he inhaled. At the doors, he stomped his feet and jumped when he heard something in the bushes. A pair of bright green eyes staring at him.

Liam arrived behind him and the mysterious eyes vanished. "Something wrong, little brother?" Liam asked following Killian's gaze over the shrubs.

"I thought I saw -" Killian trailed off before rubbing behind his ear. Maybe he imagined the green-eyed fairy.

At lunch, he studied his mother's book of fairytale as he ate. His book mentioned offering fairies food - especially bread. Would a peanut butter sandwich work? Carefully, he wrapped half the sandwich for later. Now he just needed to find her again.

The moment school let out, Killian ran for the bushes nearest the entrance. But his fairy wasn't there. Deciding the search was too important to wait, he continued looking. Eventually, he didn't recognize his surroundings. Fear filled him and he started shaking. How would he get home? How would Liam find him? What would he do for dinner?

Questions threatened to drown him as he sank to his knees. He was lost with no way back. A sob felt stuck in his chest.

"What are you doing?" A voice asked. He snapped his attention up to find the source of the voice. The leaves rustled and a girl in too big clothes slowly emerged. Her hair was long and stringy, her face streaked with dirt and it looked like her shirt was permanently the wrong color, but she watched him cautiously.

"I - I got lost." He wiped his cheek and stood up. She was a tiny thing with green eyes that blazed defiantly back at him. "Are you a fairy?"

She huffed and sat on a rock to stare at him. "What's that?"

He reached over to poke her shoulder. "Are you an angel?"

"I'm a girl." She wrinkled her nose at him.

"Oh." Killian deflated and the fear returned. "I don't know where I am. I’ve never been this far"

"It's my secret place. You can't tell nobody." She warned him hotly.

"Can you help me get home?" He tried to control the way his lip wobbled, but failed.

She sighed and walked past him. "Come on."

He followed after her quickly. As they slipped through the trees, he handed her the sandwich he saved. "I thought you were a fairy and you're supposed to give fairies food."

"How do you know so much?" She asked with a mouthful of peanut butter.

"I read it in my book." He pulled his fairytales from his bag. "Haven't you read these stories?"

She stopped dead in her tracks and stared at her worn boots that were several sizes too big for her. "I can't read."

Killian frowned at that. "But we learn in school."

"I don't go to school." She replied sounding angry. "Papa needs me at home."

He bit his lip to keep from asking all the questions now racing through his head. "I can teach you. If you want.”

She shook her head. “No one keeps their promises.”

“I will!” Killian shot back. How could she think he would keep his promise?

Tears shimmered in her eyes for a moment and she blinked them away. “Can you get home from town? I don’t like going there.”

He nodded, somehow determined to have her trust him. Thankfully, no one asked why he needed an extra sandwich. Their housekeeper accepted it easily. So Killian was able to find Emma and give her a sandwich while she showed him the secrets of Swan Island.

They settled on a spot and Emma marked the path with special shells until he could remember. Killian was excited about having a friend to read with. She liked it best when he pretended to be Captain Hook as they read Peter Pan. Liam helped him with some of the words, writing meanings in the book so he could learn it easier. So he tried to do the same for Emma.

Once they finished the book, he gave it to her as a present. The smile on her face could have lit the night sky. She threw her arms around him and kissed his cheek, making them both blush.

By summer, Emma was ready to learn to write and Miss Belle French at the library was willing to help them. She became their accomplice over the years and Emma’s only other friend.

//////////

1939

Emma pushed him back to his spot against the tree so she could finish her sketch. "Stop being weird." She tried to scowl, but he saw the way her lips twitched. "Are you going to let me finish?"

"One condition?" He asked hopefully as she arched an eyebrow at him. "Let me take you to the movies tomorrow."

Her mouth fell open. "In - in town? Killian..."

He leaned forward and caressed her cheek. "Please, love?"

She bit at her lower lip nervously. "I know what they say. I know what I am to them. Why would you want to be seen with me?"

Killian brushed a wayward curl from her face. Out here on her isolated part of Swan Island with the summer sun glittering across the water, she was absolutely stunning. Golden hair, sun-kissed skin and those green eyes that had mesmerized him from their first meeting. He'd fallen in love with his fairy girl almost instantly. "Emma, I just wanted one night to treat you like a princess."

"You're doing it again." She tilted her head into his hand. "What aren't you telling me?"

He closed his eyes and pressed his forehead against hers. "I leave for college next week. My father got me into an early placement in Vanderbilt's pre-med program."

"Killian, that's- that's great." Her watery smile was pure happiness for him. It nearly broke him.

"It means...it means I won't be able to visit, love." He let out a harsh breath. "He wants..."

"He wants you to have a life outside of Storybrooke." Her eyelashes veiled whatever was going through her head. "You should. You should have an amazing life, Killian. You deserve it."

"It's punishment because I told him I want to marry you." The magic of their secret hideaway seemed to shatter as she stood up.

"Killian..." She whispered with so much hope and hurt in her eyes, all he wanted to do was protect her from people like his father. The people who couldn't see how precious she truly was.

"I love you." He whispered into her hair. "It's not goodbye."

"Everyone leaves, Killian." She sighed and leaned into him when he wrapped his arms around her.

"Will you let me escort you on a proper date?" He kissed her forehead.

"O-okay."

Killian felt nervous preparing for his date that Friday. His father was displeased, but he relented and allowed him to drive the new coupe. Emma said to meet at the library, so he drove to town and knocked on the door. He had no idea why. He would have seen her home regardless of the journey. Miss French opened the door and smiled at him.

"Good evening, Mr. Jones." She smirked and let him inside. "She'll be down in a moment."

His nerves felt more rattled than they had earlier. Bloody hell. A quiet noise interrupted his anxious thoughts and he whirled. Emma stood with her golden hair in curls and a pink dress that didn't look like anything he'd seen her wear. Words failed him and he held his hand to his chest as she approached.

"You look..." He whispered.

Emma’s cheeks turned pink and she smiled shyly at him. "I know."

Flustered, he fumbled to hold the door open for her and practically jumped to get the car door before she did. "Allow me."

"Now you're a gentleman?" She teased.

Killian leaned closer and hummed in her ear. "I'm always a gentleman."

Emma sat beside him in the darkened theater. Their fingers laced tightly together throughout the film. He had been uncertain she would enjoy The Wizard of Oz, but he remembered how much she enjoyed reading the book together. Being tucked in the dark like this made him think of the future he wanted for them. She had seen the pain the world offered; he wanted to show her it’s wonders.

After the show, he tucked her arm into his as they walked towards the town's only diner. He was so focused on her that he almost missed the way Neal Cassidy stood in front of them, finally breaking their bubble of happiness.

If Storybrooke had a town son, it was Neal Cassidy. The son of the mayor and great-grandson of the town's founder, Neal could do no wrong - at least according to Sheriff King. Liam had been relieved when he graduated and no longer had to deal with the entitled prick. Killian had fewer run-ins being younger, but each one left him with a bitter taste.

"Well, well look who left her cave." Neal’s eyes held a predatory light that made Killian tighten his grip on Emma. He smirked at Emma, ignoring Killian entirely. "I always knew you were hiding a set of legs, Swan."

Emma tensed at the nickname. "We'll leave you to your evening, Cassidy." Killian nearly growled.

"I can take Swan home." Neal stepped closer and Killian moved to put himself between Emma and him. Cassidy laughed. "What's this, Jonesey? Did you already get a taste?"

Killian saw absolute red. He launched himself at Neal, knocking both of them to the sidewalk. For a moment all he could hear was the sound of his fist hitting Neal’s face. There was a tug on his coat and he pulled free of the fabric as Neal tried to throw him off.

Distantly, he could hear Emma screaming his name, telling them both to stop, but he couldn’t. Didn't she see it? Didn't she know how dangerous Neal was? A moment later, cold water soaked them both causing them to splutter and break away from their fight.

Emma stood with a bucket ready to douse them again. Killian had no doubt she'd use the bucket to knock sense into them if she needed to. Gods he loved her fire.

She helped Killian to his feet and glared at Cassidy. "Go home, Neal." There was a snap in her voice Killian hadn't heard in years. She kept a tight grip on his arm and practically dragged him all the way back to the library. She didn't say a word to him until Miss French opened the door and shooed them into the back. "What were you thinking?" She demanded as she cleaned the blood from his hands.

"He's dangerous, love." Killian hissed as she rubbed too hard against his knuckles. "You don't know-"

"Did you ever think that I'd be blamed?" She snapped at him. "His story will be that I started it. I-"

"Emma, all I want is to keep you safe." Killian cupped her face gently. After a moment, she closed her eyes and leaned into his hand. "I know you can take care of yourself. I just don't want you to always need to."

She looked down at the blood streaked on her own fingers. "They'll take you away." She whispered.

Killian gently washed her hands clean and kissed her knuckles. "I'm yours, love. They can't stop me from loving you."

///////////

1941

Killian wanted to run straight to the lighthouse on Swan Island. Instead, he dutifully went to his father’s house. Part of him hoped his father would finally release him from his ridiculous family obligations. The other part of him knew his father still held a grudge against Emma because of the fight with Neal on their first date.

She’d always known that the consequence of interfering with Neal would be losing each other. He wanted to prove her wrong. They wouldn’t lose each other - he was hers.

Emma lived on the remote island in the rundown shack by the lighthouse. Her father had been the lighthouse keeper and in his absence, Emma began doing the job. She earned a smaller wage than the men did, but he was relieved she could afford food and other necessities when she was alone.

There was a car parked almost at her door. He didn’t recognize it, but he supposed that was bound to happen since he was in school. A shudder ran down his spine as he considered all the changes once he went to war. Neal Cassidy walked out of Emma’s house and shot a smirk back at the door. He finished buttoning his shirt as he walked to the car.

Killian felt his heart shatter across the rocks. He turned back toward town. With any luck, he’d never have to return. It wasn’t his home now.

///////////

1945

Brennan Jones sat in the chair beside the judge that morning in court. Killian could hardly believe his father was being called as a witness for the prosecution. Had Emma known the hate ran this deep?

“Mr. Jones, we appreciate you giving us your time today.” Albert began. “Your youngest son Killian-“

“Is a decorated war hero.” His father added.

“Of course. He was involved in an altercation with the deceased before the war, wasn’t he?” Albert asked.

“Are you suggesting that my son…”

“No no, I’m only asking about the altercation. What were they fighting about?”

“What does any young man fight about? A girl. Specifically, they were fighting over Miss Teach. Killian had insisted on taking the girl to the movies. Mr. Gold informed me that she was being quite indiscreet out by the library. It’s unseemly for a girl -“

“Objection, Your Honor. Unless Mr. Spencer plans to call Mr. Gold to corroborate?” Archie started. “Or Lieutenant Jones as he and the defendant were the only witnesses to the altercation in question.”

“Sustained. Mr. Jones, please answer the question and refrain from anything unless you witnessed it.” She warned his father.

“Very well. The sheriff came to inform me that my son and Mr. Cassidy were in an altercation over Miss Teach. My son returned home with minor injuries and I told him to disassociate himself from any further meetings with the girl from that night.” His father finished looking annoyed.

“And did he?” Spencer asked.

“He did. At least until he returned to tell me he’d been called up.” His father replied. “I knew he’d go see her so I went over to stop him.”

“Do you know if he saw her?”

His father paused and looked at Emma with something resembling sadness. “He didn’t. He informed me that evening Miss Teach and Mr. Cassidy were together and he looked forward to finishing his medical degree after he returned home.”

“Thank you, Mr. Jones. Your witness.” Spencer stepped away.

“Mr. Jones, you said you drove to Swan Island that day? Did you see anything unusual?” Archie asked, sounding almost excited.

“As a matter of fact, I didn’t see Killian, but I saw Mr. Cassidy leaving. It struck me as odd at the time. From everything I knew, Miss Teach never wanted to speak to Mr. Cassidy.” Brennan sighed. “And I did speak with Miss Teach.”

“What was that like?”

“It was…odd. It took some time for her to open the door after I knocked. She looked shaken. I think she might have been crying. And…she was wearing a scarf and a heavy coat. Not at all what you expect in July.” His father looked like a weary old man for a moment. “I apologize, Miss Teach, I should have asked you if you were alright when you clearly weren’t.”

“Did you say anything at all?” Archie asked the next question in a gentle tone.

“I told her Killian was going to the war and she shouldn’t try contacting him.” Brennan rubbed his forehead and looked at Killian for the first time. “A foolish mistake, I see now. She reminded me that he wouldn’t see her again because of my interference. She-” Was his father crying? Killian could barely recall a time after his mother’s death when his father cried. “She asked if I would allow him to write to her. She promised not to write back. She wished only to know he was alive.”

“We’re all very grateful that he is, Mr. Jones.” Archie acknowledged. “Have you spoken to Miss Teach since that day?”

“In passing only. I gather he wrote her the occasional postcard and someone was helping him get them to her, but when we met in town, she only asked how he was and if I would pass along a postcard she painted. To my knowledge, she never broke her promise to me.” He finished quietly.

Killian sat in stunned silence. The postcards were from Emma? His eyes watered and when the session took a break, he had to step outside to breathe.

Brennan sat on a bench nearby and Killian joined him. “I’m so very sorry, my boy. I did you a great disservice. You still love her, don’t you?”

“I’m not sure. I don’t think I ever stopped, but…” Killian took a deep breath. “Da, I was at her house. I saw him leaving. She was crying? I should have gone in. If I’d gone to see her…”

“She wouldn’t have allowed you, my boy.” His father finally met his eyes. “It…never occurred to me that she wouldn’t want him there. I knew something was wrong, but I missed what was in front of me.”

Killian shook his head. “What are you talking about?”

“She knew the sheriff wouldn’t respond. Not after she’d been denied help the first time she asked. She wouldn’t have let you in because you would have killed him.” Brennan sighed.

The next witness was Neal’s friend, Peter Banning. “The last time I saw him, he had a charm on his neck. It was a swan. He said it was from her.” Peter spat.

“And where is this charm now?” Spencer asked.

“Whoever killed him has to have it, wouldn’t you think?” Peter sneered at Emma as she continued staring straight ahead.

All Killian heard about the next few days was that charm. He remembered seeing it hanging by Emma’s easel. She said it belonged to her mother. She kept it to remind her not to trust people. How had Cassidy gotten it?

Unfortunately for Spencer, every witness who mentioned it also mentioned going through her house before the murder and after. That made all the evidence collected mishandled and the prosecutor was forced to throw it all out. Killian finally allowed himself to breathe when Neal’s fiancée admitted that the knife wound had been from her, except he was already dead. She just wanted to make sure.

When the judge read the verdict “Not guilty.” Emma sagged against Archie and wiped tears from her eyes.

She was free.

Killian walked to her house the way he had thousands of times before. She was standing in the middle of her home. It had been ransacked by so many people, her things thrown everywhere. Broken plates and sea glass lay in shards at her feet.

He watched her for a moment before he knocked. “Hey, beautiful.”

She whirled and looked at him with fire in her eyes. “Where’s your wife? She was delightful.”

“She’s right here.” He said. “At least, I hope so.”

Emma frowned at him. “She-”

“Eloise went home. Her home. She left three days ago when I wouldn’t leave the courtroom.” He shrugged.

“Why are you here, Killian?” Emma whispered.

“Because my father isn’t the only Jones who needs to beg for your forgiveness.” He looked down at the debris between them. “If you like, I’d kneel at your feet, but I’m hoping you won’t make me.”

“You’re an idiot.”

“Aye.”

“You left me.”

“I did, but I’m here and I never want to be apart again. Can you forgive me? For being a jealous idiot? For never writing what I should have to you all those years? For being a coward because I was too afraid I’d find you happy with someone else?”

“You’re many things, Killian Jones, but coward is not one of them.” She shook her head and hugged herself. “What did you want to write?”

“I love you.”

“That’s what you wrote.” She scoffed quietly.

“I wrote I wish you were here. That’s not the same thing.” He smiled.

Emma rolled her eyes. “You were in the war? And wished I was there?”

Killian scratched behind his ear, “I wished we could have seen what those places were like before the madness. I wanted you back in my arms.”

“I wished I was there too.”

Tears rolled down her cheeks and he closed the distance. He handed her his handkerchief and pulled her into his arms. “My love, there wasn’t a day I didn’t think of you. I want to make you happy.”

“I love you too.” She whispered into his chest.

///////////

1956

Killian was out on his sailboat, The Jolly Roger, with his wife and daughter. Emma had been quiet since their short return to Storybrooke. He wrapped his arms around her waist and kissed her neck.

“Shouldn’t you be sleeping, Mrs. Jones?” He grinned.

She relaxed in his arms. “Ghosts were keeping me up.”

“Anything I can help with?” He tightened his hold on her.

Emma shook her head. “They’ve moved on.” She turned and brushed a kiss to his lips. “I’m pregnant.”

He cupped her face and kissed her. “Truly?”

That night, after his girls were asleep, Killian crept up to the deck. He looked down at the swan charm in his palm and dropped it into the ocean. The ghosts could stay gone.

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@teamhook @earanemith @ilovemesomekillianjones @jonesfandomfanatic @caught-in-the-filter @kmomof4

Huge THANK YOU to cheerleader and beta @xarandomdreamx who has dealt with the onslaught of fics!

And all my enablers on discord 😘

#csangstyaugust22 #captain swan au #writing weekend #undercaffinatednightmare fics #Iiterary liberties

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rjmbaboonbooks · 24 days

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Daily Comic Journal: April 3, 2022: "Uncommon Abodes On Television."

In case you didn’t get the TV show I was referring to in the last panel, it was “The Honeymooners”. The 1955, 1956 classic sitcom had basically one set, the Kramden’s kitchen. Ralph (Jackie Gleason) was a NYC bus driver who lived with his wife Alice in their tiny Brooklyn apartment. He didn’t make much of a salary and his wife didn’t work. As far as we the audience could tell, their apartment…

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#Classic TV #Mobile Homes #My Mom&039;s House #Observations #Television #The Rockford Files #Trailers

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corallapis · 1 year

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Henry ‘Chips’ Channon: The Diaries (Vol. 1), 1918-38, entry for 14th April 1923

—

Saturday 14th April

We dined at three tables this evening at the Grafton Galleries, we being the Carlisles, the Prince of Wales,¹ Poppy Baring,² Mrs Coats,³ Alice Astor, Prince Henry⁴ and a little woman he is flirting [with], Prince George,⁵ Lady Alexandra Curzon,⁶ Serge Obolensky and Paul of Serbia. Paul Whiteman,⁷ an American, conducted his fabulous orchestra with intoxicating skill on hearing who was in the room. At about 11.30 the Prince of Wales decided to commandeer the band and we left . . . but where to go? We agreed on the Curzons’ house (which is closed for repairs). The Prince of Wales sent to St James Palace for a great deal of champagne: the band of twenty-eight musicians arrived and we all crept stealthily into the darkened house. But no glasses! Prince Henry and I searched the bedrooms and collected every available toothbrush glass . . . . At dawn we went out on the balcony and at last when the band was ready to collapse and we were exhausted we sadly separated. It was 7.30 Sunday morning. We walked up Pall Mall in our evening dress hunting taxis. The guard at Marlborough House⁸ recognised the young pink princes and presented arms. We have all sworn to secrecy about this hush party but I wonder how long it will be before all of London knows and gossips. I shan’t say a word.

—

1. Prince Edward Albert Christian George Andrew Patrick David (1894-1972), elder son of King George V and Queen Mary, created Prince of Wales 1911; succeeded his father in January 1936 as King Edward VIII, abdicated December 1936; created Duke of Windsor on his abdication; married Wallis Warfield Simpson (1896-1986), of Baltimore, in 1937.

2. Helen Azalea ‘Poppy’ Baring (1901-80), daughter of Sir Godfrey Baring Bt, and Eva Hermione Mackintosh: the Duke of York had proposed to her in 1921 but his mother, Queen Mary, had forbidden the union because of her supposed unsuitability. She was also vetoed as a bride for Prince George, whose mistress she became. She married William Piers Thursby (1904-77) in 1928. She ran a dress shop in Down Street, off Piccadilly in London.

3. Audrey Evelyn James (1902-68), daughter of William Dodge James, married in 1922 Captain Muir Dudley Coats MC (1897-1927) of the Scots Guards. Having been widowed she married in 1930 Marshall James Field (1893-1956), an American department-store heir, investment banker and newspaper proprietor. They divorced in 1934.

4. Prince Henry William Frederick Albert (1900-74), third son of King George V and Queen Mary, created Duke of Gloucester 1928; married in 1935 Lady Alice Christabel Montagu Douglas Scott (1901-2004), daughter of the 7th Duke of Buccleuch.

5. Prince George Edward Alexander Edmund (1902-42), fourth son of King George V and Queen Mary, created Duke of Kent 1934; married in 1934 Princess Marina of Greece and Denmark (1906-68). Although known before his marriage to have had a number of mistresses he was also believed to be bisexual, and became one of Channon’s closest friends. He was killed on active service with the RAF when his flying boat crashed into a hillside in Caithness.

6. Lady Alexandra Naldera ‘Baba’ Curzon (1904-95), Lord Curzon’s youngest daughter by his first marriage. In 1925 she married Major Edward Dudley ‘Fruity’ Metcalfe (1887-1957), confidant and equerry of the future King Edward VIII, but conducted a number of affairs with men in high society, notably Lord Halifax, between the wars. Because of her flirtations with various fascists in the 1930s her nickname morphed into ‘Baba Blackshirt’.

7. Paul Samuel Whiteman (1890-1967) was one of America’s most famous band leaders.

8. Residence of Queen Alexandra in her widowhood.

#chips channon #channon diaries #1923 #1920s #george carlisle #biddy carlisle #edward viii #poppy thursby #audrey james #alice astor #prince henry duke of gloucester #prince george duke of kent #baba metcalfe #prince serge obolensky #prince paul of yugoslavia #paul whiteman #grafton galleries #marlborough house #🕰️

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brn1029 · 1 year

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On this date in music….yes there is a big time Country artist at the end of this report, but wait……

April 11th

2017 - J Geils

J Geils, American guitarist, with The J. Geils Band died aged 71. With the J. Geils Band he had the 1982 US No.1 & UK No.3 single 'Centerfold', which was taken from their US No.1 1981 album Freeze Frame.

1981 - Eddie Van Halen

Eddie Van Halen married actress Valerie Bertinelli, co-star of the 1980s television hit, One Day at a Time. The two had met eight months earlier when Bertinelli's brother took her to a Van Halen concert in Shreveport, Louisiana.

1977 - Alice Cooper

Alice Cooper played to an audience of 40,000 in Sydney, Australia, the largest crowd to attend a rock concert in the country's history. After the show Cooper was placed under house arrest at his hotel until he posted a bond for $59,632. That amount was the sum that a promoter claimed to have paid Cooper for a 1975 Australia tour he never made. The two settled when it was found that the promoter did not fulfill his part of the agreement either.

1973 - Beach Boys

The Beach Boys appeared at the Omni Coliseum in Atlanta, Georgia. The Beach Boys were at a very low ebb in popularity in America and this show proved a financial disaster for the promoter, with less than 3,000 tickets sold for the 16,000 capacity venue. Opening act was Mothers Finest and middle of the bill was Bruce Springsteen who played a 60-minute set. Elvis Presley performed twice in the Omni and a plaque was placed on an interior wall to that effect after his death.

1970 - The Beatles

The Beatles started a two week run at No.1 on the US singles chart with 'Let It Be'. It became the group's 19th US No.1 in 6 years. The track was a No.2 hit in the UK.

1965 - Tom Jones

Performing at the New Musical Express poll winners concert, at London's Wembley Empire Pool, England, The Beatles, The Rolling Stones, Tom Jones, Freddie and the Dreamers, The Animals, The Kinks, Herman's Hermits, Moody Blues, Them, Cilla Black, The Seekers and Donovan.

1964 - The Beatles

The Beatles set a new chart record when they had 14 songs on the Billboard Hot 100. The songs ranged from 'Can't Buy Me Love' at No.1 to 'Love Me Do' at No. 81.

1963 - Gerry and the Pacemakers

Gerry and the Pacemakers were at No.1 on the UK singles chart with 'How Do You Do It'' The group's first of three UK No.1's.

1961 - Bob Dylan

Bob Dylan played his first live gig in New York City at Gerde's Folk City, opening for John Lee Hooker.

1956 - Elvis Presley

Travelling from Amarillo to Nashville, the plane that Elvis Presley was flying on developed engine trouble and was forced to make an emergency landing. The incident created a fear of flying for Presley.

1953 - Hank Williams

Hank Williams' 'Your Cheatin' Heart was at No.1 on the Billboard country chart. The story goes that Williams was prompted to write the song when thinking about his first wife, Audrey Williams, while driving around with his second, Billie Jean Jones who she is supposed to have written down the lyrics for him whilst sat in the passenger seat. The song was record during his last ever recording sessions, on September 23, 1952 and had been released the following year, shortly after he died.

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papermoonloveslucy · 1 year

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LUCY & THE CRIMINALS

Lucy’s Encounters with the Criminal Underworld ~ Part 1

To add drama and an element of danger to her sitcoms, Lucy would often encounter burglars, thieves, robbers, and other criminals. Here’s a look at some of those on the ‘other side of the law’ in early Lucycoms.

“The Burglar” (1947) ~ Lucille Ball guest stars on the radio show “The Smiths of Hollywood” starring Arthur Treacher and Brenda Marshall. At Lucille Ball’s home, a burglar and a concerned neighbor break in!

BILL: “By the time he finishes off that Scotch, you’ll wish the real burglar had gotten in!” BURGLAR: “I am in.” LUCY (screams): “They’re coming through the woodwork!”

“The Fur Coat” (1951) ~ To get an expensive fur back from Lucy, Ricky enlists Fred to paly a burglar to steal it back. Naturally a real burglar (Ben Weldon) shows up on the same night!

“New Neighbors” (1952) ~ Lucy believes the actors who move in to the building are actually dangerous spies intent on blowing up the capitol. This leads to a shoot-out with the police. Hayden Rorke and K.T. Stevens play the couple.

“The Kleptomaniac” (1952) ~ When Lucy is caught collecting household items for the club’s tag sale, Ricky and Fred believe she is a kleptomaniac, a theif who steals uncontrolably. Lucy finds out about their misapprehension and decides to teach them a lesson by pretending to be real theives - robbing a bank and stealing a baby elephant from the circus.

“The Publicity Agent” (1952) ~ To get Ricky’s name in the papers, Lucy at first thinks that she should stage a robbery, but after a quick inventory her jewels are only worth $43.

LUCY: “You know how those Hollywood stars get their name in the paper when their jewels are stolen.”

This actually happened to Lucille Ball when on tour with Desi in 1950. Their Chicago hotel room was robbed and nearly all Lucy’s jewelry was stolen.

“Ricky and Fred Are TV Fans” (1953) ~ Lucy and Ethel are arrested attempting to cut the wires on the roof of their apartment building. At the station, the desk sergeant (Frank Nelson) assumes they are wanted female felons “Pickpocket Pearl and Sticky Fingers Sal”. Later, Sergeant Nelson apologies when he finds out that the criminals are already in prison.

“Too Many Crooks” (1953) ~ The entire neighborhood is on alert over a prowler nicknamed Madame X. Ethel thinks it may be Lucy and Lucy thinks it may be Ethel! Then the real Madame X (Alice Wills) shows up! The original script had Madame X get away at the end, taking both Ricky and Fred's suits along with her! In the filmed ending, justice is served!

“Equal Rights” (1953) ~ Over the telephone, Lucy and Ethel pretend to be held up at gunpoint by robbers to get Ricky and Fred to rescue them from washing dishes. But when the boys discover that they were faking, they pretend to be burglars to teach them a lesson. When the police arrive, it is Ricky and Fred who are arrested.

“Lucy Cries Wolf” (1954) ~ Lucy is overly-worried about her safety during a local crime spree, demanding Ricky demonstrate her love by protecting her against made-up thieves. Whe real burglars break in and kidnap her, Ricky and the Mertzes think Lucy is just ‘yelling tiger’ - Ricky’s version of ‘crying wolf’! The same two actors who played the policeman in “Equal Rights” (Fred Aldrich and Louis Nicoletti) turn to the darkside here as the burglars.

“The Great Train Robbery” (1955) ~ A jewel thief (Harry Bartel) is aboard the train and Lucy is tricked into telling him that there is a jewelry salesman in the next compartment.

“Paris at Last” (1956) ~ Lucy gets a taste of the dark side of the City of Light. First she encounters a counterfeitter (Lawrence Dobkin)...

Followed immediately by a forger (Shepard Menken), who passes off a mass-produced painting as an original.

“Off to Florida” (1956) ~ During a rideshare to Florida, Lucy and Ethel hear a radio report about Evelyn Holmby, a hatchet murderess driving south and believe it to be their driver, Edna Grundy, who matches the description. While Lucy and Ethel take a cat nap, Mrs. Grundy hears a report that the hatchet murderess is traveling with a red-haired companion and believes it to be Lucy. Finding a hatchett in the car’s trunk convinces Lucy her hunch is correct.

“Lucy Wants To Move to the Country” (1957) ~ To convince the Spauldings that they are undesireables and give Ricky his deposit back, Lucy and the Mertzes pretend to be Runyonesque gangsters and Ricky their mob boss! Believing them, the Spauldings (Eleanor Audley and Frank Wilcox) hold them at gunpoint!

“K.O. Kitty” (1958) ~ An episode of “The Westinghouse-Desilu Playhouse” in which Lucille Ball played a dance teacher who inherits a prize fighter. Two mobsters (Jesse White and Sid Melton) hold Kitty at gunpoint, pressuring her to fix the fight. In the end, the criminals reveal that they are not real mobsters and their guns are nothing but cigarette lighters!

“Sunday Showcase: The Lucy-Desi Milton Berle Special” (1959) ~ Lucy and Desi play the Ricardos on a Milton Berle special on NBC. In the story set in Las Vegas, Lucy gets an expensive ring intended for Mrs. Berle stuck on her finger. Two jewel thieves (George Macready and Mike Mazurki) approach Lucy and tell her they are jewelry wholesalers. When the ring won’t come off, the thieves pursue Lucy and Berle all around the hotel.

STAY TUNED FOR PART 2

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packedwithpackards · 1 year

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Chapter XII: Cyrus, Dora, and the last of the Packards

In April 1878, the life of 26-year-old Plainfield-born man, Cyrus Winfield Packard, less than 10 years before his father, William H., would die, would change. Recently requested photocopies of Cyrus’s marriage records from the Massachusetts State Archives indicate that Cyrus was a farmer living in Cummington, Massachusetts, a town of Hampshire County, marrying a 15- or 16- year old woman named Nellie Mason. [265] Nellie, born in August 1861, was the daughter of Eurotas/Erastus Mason and his wife Jane, had lived in the town of Cummington for her whole life. The following year, the newlyweds were living in Easthampton, Massachusetts, within the same county. Cyrus as a farmhand and Nellie, taking the last name of Packard, as a servant for the Penderwood family. [266] At some point, Cyrus and Nellie decided to have a baby. Less than nine months later, on February 13, Nellie would die at the tender age of 19, from German measles and typhoid fever, while giving childbirth. [267] With the death of Nellie, Cyrus moved on, leaving her in the dust.

On November 21, two months after purchasing 112 acres in Plainfield from William L. Packard and gaining the farm in Plainfield with a stand of maple sugar trees, he married again, like many Packards before him. This was to a woman named Dorothy “Dora” (or Dory) Ann Mills in Glens Falls, New York, the town in which she was born.

Dora, who worked in a shirt factory (1880) and as a teacher (1870) in the past, had lived in Warren County, New York since June 1, 1849, when she was born, approximately. [268] While her gravestone says she was 38 years, 10 months old at the time of her death, the 1850 and 1860 U.S. Federal Censuses show a woman named “Dorothy A. Mills” or “Dory Mills” as born in 1849 or 1850. The reasons for why she would say she was younger than she actually was are not currently known. [269] Dora was the daughter of John Rand Mills and Margaret Bibby and had six living siblings by 1881, living in Chester, Bolton, Glens Falls, within Warren County, New York. [270] Dora’s parents are worth noting. John Rand Mills, born in Ireland, in Sept. 1804, immigrated to the United States by 1830, marrying Margaret Ann Bibby, born in the same part of Ireland.

Over the following years, Dora and Cyrus had seven children with the last name of Packard. They include John Henry (Oct. 15-1882-Oct. 28, 1950), Margaret Alice (Jan. 27, 1884-Aug. 4, 1976), Joseph Winfield (Jun. 17, 1885- Mar. 9, 1910), Charles Edward (May 5, 1887-Nov. 4, 1960) or “Uncle Charlie,” Marion Estelle (Feb. 12, 1889-Jun. 13, 1965), Robert Barnabas (Jan. 19, 1891-Apr. 11, 1956), later becoming Robert Byron Mills II, and Mabel Hattie (b. July 19, 1892) who died on Dec. 1, 1961. [271] John H. would never marry, and Margaret would marry a man named Kenneth Brown in 1913, having one daughter and two sons. As for Joseph, he was an unmarried man reportedly killed while working on the railroad. “Uncle Charlie” married to Bertha Churchill in 1919 with whom he had a child named Douglas M. Packard, and two daughters. In 1940, Charlie remarried to Pearl Gleason. Marion married Edward Dean in 1908, living in Bridgeport, Connecticut, and John Nocker in 1954, and may have had two children from her first marriage (as stated in 1930 and 1940 censuses). Mabel H., buried at West Hill Cemetery in Plainfield, Massachusetts, married first to Giles Whitley with whom she had four children (Giles, Margaret, Harold, and Frances), and second, in 1920, to Joseph T. Landstrom, having six children (Dorothy, Barbara, Phyllis, Joseph (died as an infant at one year old), Alice, and Joan).

Little is known about the early life on the farm for these individuals. This is because the 1890 census was destroyed on January 10, 1921 when a fire swept the Commerce Department building, creating an “archivist's nightmare, with ankle-deep water covering records in many areas” destroying many of the records. [272] There are land records which relate to Cyrus and Dora. In one agreement, he mortgages (or sells?) 112 acres to Henry L. Goodrich. [273] This is likely the Packard farm. Later that month, Henry C. Packard purchases for Cyrus, from Goodrich, the same land. [274]

In 1891, B. Winslow wrote a poem for the 10th anniversary of Dora and Cyrus’s marriage on November 21, 1881. [275] The full poem tells about Dora and Cyrus’s marriage although it is unsurprisingly upbeat, as should be expected at least for the mores of the time:

It was November twenty-first In eighteen eighty one When Love had long enough been nursed Their married life begun.

The vows that then were made and sealed, In eighteen eighty one, From all that yet has been revealed Show all was then well done.

Ten years have passed of married life, And no talk of divorce; Showing a true and faithful wife, And husband, too, of course.

And children, well, there are a few, From union such as thus To bind them in affection true, And crown their wedded bliss.

Four sons, two daughters, fair and sweet, Have blessed this happy home; A present source of pride and joy, Their hope in years to come.

Labor and care have marked their lot, But health hath lent its cheer; So at their toil they've murmured not, Showing their love sincere.

They've shared each scene of joy and woe, And well redeemed the vow They made and sealed ten years ago. And which they honor now.

And their gathered in their home at night, Are friends of youth and age; And all is full of sweet delight, To write on mem'ry's page.

Fond mem'ry's page, on which they stand, Dear memories of the past; Hopes we have had and joys we've planned, That were too sweet to last;

Let us be thankful for them all, Nor at their loss repine And as God's future mercies fall, Hail those for us that shine;

And nobly bear each trial sent, In heart and spirit true; Thus may we have a calm content, Our life' brief journey through.

God bless the bride and bridegroom here, As long as life shall last; May they have memories fond and dear, Such as they have market the past.

Among them all will not be least The memories of this night, When friends invited here were to feast On memories fair and bright.

Despite this lack of records, there is one photograph shared by Dianne Blomquist on the “David Vallender family tree” on Ancestry, showing the family of Cyrus and Dora in Plainfield in 1892. The image shown on the next page shows the 7 children of both of them, providing a snapshot into their life and customs. This shows that the family was at least partially proper, although this image does not hint at their occupations. Other images of Dora and the family cannot be found, but there are photographs of all of their children at later ages, the same being the case for Cyrus as well.

While Cyrus’s face is not totally clear in the photograph, another one taken around the same time at Camp 55, shows Cyrus (along with Joseph Beals Jr.), listed a member of the Plainfield chapter of the Sons of Union Veterans of the Civil War (SUVCW). The SUVCW are direct descendants from those “regularly mustered and served honorably in…honorably discharged from, or died in the service of…regiments called to active service…between April 12, 1861 and April 9, 1865.” [276] This means that Cyrus was wearing his father’s uniform, hat, & pants, with two medals already on the uniform or given as a part of his membership. Some context is necessary here. Joseph Beals, Jr., who lived with Hattie B. and Joseph Beals in 1900, would be dead by July 29, 1941 after living in Goshen for most of his life. Since Hattie was Dora’s sister, Joseph Beals Jr. would be his nephew. This would also explain why Cyrus was the informant for Joseph Beals, the husband of Hattie, who died in 1900.

Comparing three available photos, the rightmost one coming from another family history, shows that he was clean cut for this 1892 photograph:

On February 5, 1895, Dora died of tuberculosis (pulmonary phthisis) in Plainfield and was buried in Pottersville, part of New York’s Warren County, a town 35 miles north of her birth place, Glens Falls. This burial place was likely chosen to put in her grave in proximity with surviving family members. On May 11, 1895, the Women’s Christian Temperance Union and Mountain Miller Women’s Relief Corps hosted a memorial service for Dora in West Cummington. There are religious messages, with some calling her a “devoted wife” and “earnest Christian woman” while those within the Relief Corps call her a “sister.” [277]

At the memorial service, likely all of her children were attending. One individual, Joseph Beals, who was Dora’s brother-in-law since he had married Dora’s sister (and his wife), Hattie, described Dora as “kind to everybody” and said that he knew Dora through her “sickness.” This was further cemented by the fact that he visited with Hattie 2-3 times a week, possibly indicating she was sick from 1889 (when Hattie and Joseph married) to 1895. Also at the memorial service a “Poem by Dora M. Packard” which was written in July 1894 was read. Using the clues noted in this pamphlet, it is clear that Dora was a member of the National Women’s Relief Corps. Specifically she was part of Corps No. 158 (Mountain Miller Corps) which was organized on November 22, 1892 and was based in Plainfield, meeting the first Friday of every month. [278] The National Women’s Relief Corps, which still exists to this day, was an auxiliary to the Grand Army of the Republic (Civil War Veterans). It is a secret and “patriotic organization,” meetings held at least once a month, with applications (by those over 16 with "good moral character made in writing and vouched for with two members." [279]

More specifically it had (and has) the explicit purpose to perpetrate memory of the Grand Army of the Republic. As for the latter organization, it came about originally limited to “honorably discharged veterans of the Union Army, Navy, Marine Corps or the Revenue Cutter Service who had served between April 12, 1861 and April 9, 1865” and departments within the organization generally consisted of the Posts within a state and at the national level, with the organization operated by an elected “Commandery-in-Chief" The rituals at the meetings and induction ceremonies were “similar to the Masonic rituals,” used currently by the SUVCW, along with multi-day encampments (meetings) with the final Encampment held in Indianapolis in 1949. [280]

With Dora’s death, the Packard family split apart. Some were adopted by others, like Robert by Dora’s brother, Mabel by the Cosgrove family in Pawtucket, Rhode Island, and Marian and Charles E. by the Beal family in Goshen, Massachusetts. [281] While the 1900 census was issued on June 16, another document claimed he died on June 10. The only reason for this discrepancy in dates means that either the census information was collected before June 10 or that Joseph died on a date after June 16.

With the family going different ways, few stayed with Cyrus. About 6 months after Dora died, he married again to Clementina Cheney. Coming from a well-established New England family, she stayed at home, while Cyrus was a carpenter. He wasn’t done having children. With Clementina he had 5 more children with the last name of Packard, putting his number of offspring at 12. [282] These children would be Olive Martha (October 23, 1896-January 20, 1969), Herbert Miles (October 1898 - August 30, 1966), Rachel May (April 13, 1900 - September 22, 1933), Thomas “Tom” Theodore Packard (May 2, 1902 - 1975), and Harold “Harry” Cyrus Packard (Apr. 24, 1907 – 1975). None ever married.

By 1900, only one of Cyrus’s children from his marriage with Dora would be living with him: John H. Packard who was working as a farm hand. As the head of the household, Cyrus lived on a mortgaged farm and was a carpenter. [283] Later censuses show that none of the children he had with Dora would be living with him. By 1910, he would be mortgaging the farm, but would be a general farmer, living in the same neighborhood as Henry C. Packard’s family. [284] 10 years later, he would own the farm which he had mortgaged for so many years, and be classified as a farmer, just like his sons Herbert & Thomas. Cyrus would later be a cemetery commissioner in Plainfield (in 1907 and 1911). [285]

Ten years later, in 1910, Hattie B., Dora’s sister, was still living in Goshen. [286] She was widowed (evidencing Joseph Beals’ death in 1900) , living with her daughter Edith, from her marriage with Hannibal, and a boarder named George A. Andrews. Two years later, on August 3, 1912, Hattie B. died of chronic vascular heart disease. She was called “Hattie B. Beals” on her gravestone. This same gravestone gives her wrong year of birth, meaning it is off by 11 years! [287]

Before his death, Cyrus would engage in a land transaction with A. H. Allen & Co. involving the 112-acre Packard farm in 1900, mortgage 100 acres of land to a Plainfield resident named Alden L. Torrey in 1905, with the same 100 acres, involved in a mortgage transaction with the Haydensville Savings Bank in 1909, mortgage the property with the same bank (or a different one?) in 1920, four years before his death, and let a company put up powerlines on his property in 1922. [288] In 1924, Cyrus would die, reportedly on April 2, after suffering from a brain tumor, and his wife one year earlier, in 1923. Cyrus, and many of his children, and wives were buried in West Hill cemetery in Plainfield. After Cyrus’s death, Tom took over the “old” Plainfield farm or “home farm” of Cyrus in 1925, buying it for $1,000 from the administrator of his estate, William A. Packard. [289]

Tom kept the farm running, although he wasn’t an “old type carpenter” like Cyrus, until December 1946, when a fire destroyed it, two months after the mortgage on the property was released. After that point, he bought property nearby, the Enoch Sanford homestead, operating it until his death. According to some of those at the Cummington Historical Museum, Tom was quite a character and a potato farmer (with Green Mountain potatoes) but he had a tendency to burn down his barns time and time again. Later he would be a selectman, head the Plainfield Republican Committee, and be a town historian (helping found the Plainfield Historical Society), take notes on local cemeteries. [290] Harold, on the other hand, helped out in the local community, in terms of carpentry and other tasks. The images after this paragraph, in this chapter, show Cyrus, Tom, Mabel, Rachel, Olive, and Marion in later life. In later years, Tom would run “Packard’s store” in Plainfield, still remembering his “late” father, Cyrus. [291]

Most, if not all, of these photos are courtesy of DGVallandar on Ancestry.

Most, if not all, of these photos are courtesy of DGVallandar on Ancestry

Notes

[265] The marriage of Cyrus W. Packard and Nellie J. Mason is documented in Vol. 299, p. 6 & 24, showing their marriage was registered in Cummington and in Plainfield, accounting for duplicate records, with the marriage notice two days before; Nellie J. Mason, Aug. 1, 1861, Massachusetts Births and Christenings, Family Search, citing Cummington, Hampshire, Massachusetts, FHL Microfilm 1,888,606; The Mason Household, Massachusetts State Census, 1865, Family Search, Cummington, Hampshire, Massachusetts, State Archives; Mason Household, US Federal Census, 1870, Cummington, Massachusetts, NARA M593. They were married by a Plainfield Justice of the Peace named Jason Richards.

[266] Packards in Easthampton, Tenth Census of the United States, US Federal Census of 1880, National Archives, NARA T9, Record Group 29, Roll 437, Page 347D, Enumeration District 344, Image 396.

[267] Nellie J. Mason Packard Find A Grave entry; Nellie J. Packard or Mason, 1881, Massachusetts Deaths and Burials; William W. Streeter and Daphne H. Morris, The Vital Records of Cummington, Massachusetts 1762-1900 (Cummington, MA: William W. Streeter, 1979), 140, 215.

[268] Mills Household, Glens Falls, Warren, New York, Census of 1850, NARA M432, Roll M432 609, Page 33A, Image 70; Mills Household, Chester, Warren, New York, Census of 1870, NARA M593, Roll M593 1109, Page 575A, Image 146817; Hammond Household, Glens Falls, Warren, New York, Census of 1880, Roll 941, Page 141A, Image 0437; Mills Household, Census of the state of New York, for 1855. Microfilm. New York State Archives, Albany, New York; Mills Household, Census of the state of New York, for 1865, Microfilm, New York State Archives, Albany, New York.

[269] Mills Household, US Census of 1850, Glens Falls, New York, Family Search, National Archives, NARA M432; Dorothy Ann "Dora, Dory" Mills Packard gravestone; 1870 U.S. Federal Census, Chester, New York.

[270] Mills Household, 1830, Wethersfield, Genesee, New York, NARA M19, Roll 90, Page 331, FHL 0017150; Mills Household, 1840, Chester, Warren, New York, Roll 349, Page 335, Image 685, FHL 0017209. John Rand Mills and Margaret Ann Bibby Mills are buried in Chester Cemetery, within Orange, New York.

[271] John Henry Packard, Margaret Alice Packard Brown, Charles Edward Packard, Marion Estelle Packard Nocker, and Robert Byron “Bert” Packard Mills II’s Find Grave entries. Kenneth’s son’s address was in Burbank, CA.

[272] National Archives, “1890 Census,” Feb. 17, 2005; Kellee Blake, ““First in the Path of the Firemen”: The Fate of the 1890 Population Census, Part 1,” Prologue, Spring 1996, Vol. 1; Kellee Blake, ““First in the Path of the Firemen”: The Fate of the 1890 Population Census Part 2,” Prologue, Spring 1996, Vol. 28, No. 21. W.B. Gay’s "Town of Cummington" within Part Second. Business Directory of Hampshire County, Mass., 1886-87 (Syracuse, NY: W.B. & Gay Co., 1886) lists on page 49, Mary Nash, Charles S. Packard, Cyrus W. Packard, Fordyce Packard, Frank L. Packard & Russell R. Packard. Even with the loss of records in 1890, other sources, like city directories, allow the Packard story to be found and pieced together. This is important for learning more of this family history.

[273] Purchase of land by Merritt Torrey and Stillman Ford, June 13, 1866, Massachusetts Land Records, Hampshire, Deeds 1866 vol 234-237, p. 19, image 466 of 837, Family Search; Mortgage or sale of land to Henry Goodrich by Cyrus W. Packard, Massachusetts Land Records, Hampshire, Deeds 1896-1897 vol 491-494, p. 321-322, images 697 and 698 of 757,courtesy of Family Search. The latter agreement is the only one I could find which mentions “Dora A. Packard.”

[274] Purchase of land by Henry Packard for Cyrus W. Packard from Henry L. Goodrich, Sept. 12, 1890, unindexed documents, book 436 page 43-44 via http://www.masslandrecords.com/Hampshire/, click on "unindexed property search"; Purchase of land by Henry L. Goodrich from Richard A. Lyman, Jan. 13, 1887, unindexed documents, book 410 page 475 via http://www.masslandrecords.com/Hampshire/, click on "unindexed property search." Next page gives the date and more specifics. Nothing more about this agreement is known. Dora would, in 1893, greenlight the selling of Cyrus’s land.

[275] In Packard Genealogy assembled in 2017. Given to the Plainfield Historical Society. Examined on August 5, 2017; Mercer V. Tilson, The Tilson genealogy (Plymouth: The Memorial Press, 1908), 370.

[276] The picture referred can be found here. Membership, Sons of Union Veterans of the Civil War, accessed July 14, 201. 1900 U.S. Federal Census, courtesy of Family Search; 1910 U.S. Federal Census, courtesy of Family Search; 1920 U.S. Federal Census, courtesy of Family Search; 1930 U.S. Federal Census, courtesy of Family Search; 1940 U.S. Federal Census, courtesy of Family Search. Find A Grave for Joseph Beals. On April 27, 1898, Joseph Beals, Jr. had married Florence Lena Hall Pratt in Cummington but the marriage was also recorded in Goshen and Plainfield.

[277] This sentence and the one before it cite the Packard family file at the Cummington Historical Museum has one pamphlet titled “In memoriam Dora M. Packard 1895.” Her death record claims both of her parents were born in Britain.

[278] Journal of the Seventeenth Annual Convention of the Department of Massachusetts, Women's Relief Corps, Auxillary to the Grand Army of the Republic. Lowell, Mass. February 12 and 13, 1896 Vol. 17 (Boston: E.B. Stillings & Co., 1896), pp 37, 100, 187; Other Packards, like Eliza J. of Brockton and C.M. Packard of Avon were members (Journal of the Seventeenth Annual Convention of the Department of Massachusetts, Women's Relief Corps, Auxillary to the Grand Army of the Republic. Lowell, Mass. February 12 and 13, 1896 (Boston: E.B. Stillings & Co., 1896), 30, 100, 190, 247. Not a member in 1889 or 1890, at least not a major member (Proceedings of the Tenth Annual Convention of the Department of Massachusetts, Woman's Relief Corps, Auxillary to the Grand Army of the Republic, Boston Mass. Feb. 12 and 13 1889 (Boston: E.B. Stillings & Co., 1889), 5; Proceedings of the Eleventh Annual Convention of the Department of Massachusetts, Woman's Relief Corps, Auxillary to the Grand Army of the Republic, Boston Mass. Feb. 5 and 6, 1890(Boston: E.B. Stillings & Co., 1889), 45-46, 96; Journal of the Fourteenth Annual Convention of the Department of Massachusetts, Women's Relief Corps, Auxillary to the Grand Army of the Republic. Boston, Mass. February 8 and 9, 1893 (Boston: E.B. Stillings & Co., 1893), 32, 89, 187, 210. Dora's chapter not around in 1901. "all loyal ladies" who are "interested in the good work" can be part of the relief corps (History of the Department of Massachusetts, Woman's Relief Corps, Auxillary to the Grand Army of the Republic (Boston: E.B. Stillings & Co., 1895), 16; "The Relief Corps," The National tribune. (Washington, D.C.), 22 Dec. 1892.

[279] History of the Department of Massachusetts, Woman's Relief Corps, Auxiliary to the Grand Army of the Republic (Boston: E.B. Stillings & Co., 1895), v, viii, 10-14, 16-17, 20, 23, 29, 33, 37, 45, 48-59, 61-64, 71-76, 86, 123, 191. Emily L. Clark initiated the Mountain Miller Corps No. 158 in Plainfield on Nov. 22, 1892 with the charter membership as 12 individuals and has 23 by the present date, forwarded supplies to soldier's home in Chelsea and has relief fund (History of the Department of Massachusetts, Woman's Relief Corps, Auxillary to the Grand Army of the Republic (Boston: E.B. Stillings & Co., 1895), 276). Corps officers were elected annually at the last regular meeting in December and each corps could have a relief fund for those in need. They did special work at a soldier's home and Clara Barton supported the organization.

[280] SUVCW, “About the Grand Army of the Republic,” accessed August 13, 2017. The Sons of Union Veterans of the Civil War goes as far back as 1881, there is an entry for William H. Packard in the SUVCW database, C.M. Packard of Avon, in Norfolk was a member but his identity is not known. Dora’s chapter was mentioned in The National Tribune from Washington, District of Columbia, Dec. 1, 1892, p. 10, within The National Tribune from Washington, District of Columbia, Dec. 22, 1892, p. 10 and Greenfield Gazette And Courier Newspaper, August 31, 1901, p. 8.

[281] DGVallender, “Mabel Adoption,” courtesy of Ancestry.com; Massachusetts Death Records, 1841-1915 notes that she died in Plainfield; Mills Household, Bolton, Warren, New York, Census of 1860, NARA M653, Roll M653_403, Page 304, Image 308. Courtesy of Ancestry.com; Mills Household, Chester, Warren, New York, Census of 1870, NARA M593, Roll M593 1109, Page 575A, Image 146817. Courtesy of Ancestry.com; Cosgrove Household, Pawtucket Ward 4, Providence, Rhode Island, Census of 1900, Roll 1511, Page 13A, Enumeration District 156, FHL microfilm 1241511. Courtesy of Ancestry.com; Mixed Family Household, Pawtucket Ward 1, Providence, Rhode Island, Roll T624_1440, Page 16A, Enumeration District 120, FHL Microfilm 1375453.; Thomas Dunne, “Margaret Mills Cosgrove,” Find A Grave Entry, Jun. 9, 2008; Mills Household, Census of the state of New York, for 1855. Microfilm. New York State Archives, Albany, New York; Mills Household, Census of the state of New York, for 1865, Microfilm, New York State Archives, Albany, New York; 1900 U.S. Federal Census; Headstone Application for U.S. Military Veterans in February 1948. This shows that Cyrus clearly moved off ALL of his children to Dora’s relatives, not his own, which is utterly selfish by any standards of decency. This is an opinion, but a well-grounded one.

[282] A Find A Grave entry for Clementina; Marriage of Cyrus Winfield Packard and Clementina Cheeney, 1895, Vol. 452, p. 19 (and transcription of this page); Cyrus W. Packard & Clementine Cheney, 1895, Vol. 452, p. 47 (and transcription of this page); Herbert Miles Packard, Olive Martha Packard, Rachel May Packard, Harold Cyrus Packard, and “Tom” Theodore Packard memorials; Birth of Harold Cyrus Packard, Births Registered in the Town of Plainfield for 1907, Aug. 24, 1907, Vol. 567, p. 281; DGVallender, “Tom Packard Telegram,” date unknown, relating to Plainfield Republican Committee. This shows his political leanings.

[283] Packard Household, US Census of 1900, Plainfield Town Northampton city, Hampshire, Massachusetts, enumeration district 644, sheet 2A, National Archives, NARA T623.

[284] Packard Household, US Census of 1910, Plainfield, Hampshire, Massachusetts, enumeration district 712, sheet 1A, National Archives, NARA T624, roll 594; Packard Household, US Census of 1920, Plainfield, Hampshire, Massachusetts, enumeration district 180, sheet 3A, National Archives, NARA T625, roll 705.

[285] Massachusetts Year Book for 1907, No. 9 (Worchester, MA: F.S. Blanchard & Company, 1906), 172; Massachusetts Year Book for 1911, No. 13 (Boston: Geo. E. Damon Company, 1911), 176.

[286] 1910 U.S. Federal Census; Joseph Beals died in Cummington on June 11, 1900 at age 67, 9 months and 9 days, he died of diabetes and something else; his parents were Dexter Beals (of Plainfield) and Julia Packard (of Goshen); he was a farmer, living in Goshen in his last days as noted in "Deaths Registered in the Town of Goshen for the Year nineteen hundred," vol. 505, p. 259 which was taken from photocopied vital record requested from the Massachusetts Archives in July 2017.

[287] Gravestone of Hetabella Belle “Hattie” Mills Beals; Death certificate of Hattie B. Beals. It is not known why the gravestone is so wrong. Perhaps the people informing the person giving the gravestone had incorrect information

[288] Cyrus and A. H. Allen & Co. agreement, Nov. 29, 1900, Massachusetts Land Records, Hampshire, Deeds vol 540-541, p. 317-318, images 484 and 485 of 545. Charles N. Dyer is a witness for Clementina; Agreement between Cyrus W. Packard and Alden L. Torrey, Jan. 3, 1905, unindexed documents, book 591, p. 71-72 via http://www.masslandrecords.com/Hampshire/ click on “unindexed property search”; Agreement between Cyrus W. Packard and Huntington Savings Bank, June 1, 1909, unindexed documents, book 643 page 51-52 via http://www.masslandrecords.com/Hampshire/, click on “unindexed property search”; Agreement between Cyrus W. Packard and Federal Land Bank of Springfield, Mar. 2, 1920, unindexed documents, book 755, page 47-48 via http://www.masslandrecords.com/Hampshire/, click on “unindexed property search”; Clarifies his right to 112 acres in Plainfield, Sept. 8, 1922, unindexed documents, book 799, page 94 via http://www.masslandrecords.com/Hampshire/, click on “unindexed property search”; Agrees for company to put up powerlines on his property, Aug. 5, 1922, unindexed documents, book 783, page 504 via http://www.masslandrecords.com/Hampshire/, click on “unindexed property search”; Find A Grave entries of Clementina and Cyrus Winfield Packard. A photograph of Cyrus taken around his death in 1924, shows him looking very old with white hair and a slight mustache, possibly pale, with a suite and tie on, looking all dressed up for some occasion.

[289] Memoirs of Howard N. Hathaway, Dec. 23, 1970, transcript of original within Shaw Memorial Library, corrected for Plainfield Historical Society on July 7, 2007, p. 64, 68-69; Prescilla C. Alden and Arvilla L. Dyer, Plainfield, ed. Nancy C. Alden, 2006, Plainfield Historical Society, p. 5, 9, 11; Thomas buys the farm for $1,000 from William A. Packard, administering Cyrus's estate, June 16, 1925, unindexed documents, book 824 page 111-112 via http://www.masslandrecords.com/Hampshire/, click on “unindexed property search”; Mortgage to Federal Land Bank of Springfield Discharged, Oct. 25, 1946, book 1009, p. 486 via http://www.masslandrecords.com/Hampshire/.

[290] H. Elmer Muller, Sketches and directory of the town of Cummington (West Cummington, MA: Published by Author, 1881), pp 11, 18, 20, 26, 30, 39, 41; Plainfield Historical Society, Maps, accessed July 14, 2017; Plainfield Historical Society, "Notes by Thomas T. Packard on Plainfield Cemeteries," date not known; Plainfield Historical Society, “Cemeteries of Plainfield,” accessed July 14, 2017; Plainfield Historical Society, “Plainfield Massachusetts Historical Society 1961 Charter,” accessed July 14, 2017; Plainfield Historical Society, “About Hidden Walls Hidden Mills,” accessed July 14, 2017. The Packards had allied with the Shaw family and clashed with other families within the town. By 1979, with the death of Tom Packard, his estate of over $84,000 had been divided up. The previous year, an attorney from Springfield, Massaschusetts, Doris F. Alden, Tom’s half-sister, meaning that some were given certain shares, specifically receiving a portion of $5,610.69 from the estate, while other nieces and nephews received a 2.5% share ($2,104.01) rather than 6.2/3% share, while Winfield H. Brown, administrator, Doris F. Alden Administrix (female), and Douglas M. Packard received a 20% share ($16,832.08). One relative offered $35,000 to buy the Packard house and 10 acres of land, but this was not accepted ultimately by the owners.

[291] North Adams Transcript, North Adams Massachusetts, Dec. 13, 1951, Page 15. Courtesy of Newspapers.com.

Note: This was originally posted on September 21, 2018 on the main Packed with Packards WordPress blog (it can also be found on the Wayback Machine here). My research is still ongoing, so some conclusions in this piece may change in the future.

#packards #genealogy #genealogy research #family history #marriage #cummington #typhoid #diseases #plainfield #Glen Falls #new york #west hill cemetery #ancestry.com #temperance #land #landowners #massachusetts

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haletwinsstan · 4 years

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the cullen children all share 1 braincell and rosalie has it 99% of the time

#alice last had it in 1956 #emmett has never had a single braincell in his entire life and never will either #twilight #twilight renaissance #twilight revival #twilight meme #twilight shitpost #rosalie hale

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unpopularwiththepopulace · 3 years

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A retrospective on some of Broadway’s most important female costume designers across the last century

How much is our memory or perception of a production influenced by the manner in which we visually comprehend the characters for their physical appearance and attire? A lot.

How much attention in memory is often dedicated to celebrating the costume designers who create the visual forms we remember? Comparatively, not much.

Delving through the New York Public Library archives of late, I found I was able to zoom into pictures of productions like Sunday in the Park with George at a magnitude greater than before.

In doing so, I noticed myself marvelling at finer details on the costumes that simply aren’t visible from grainy 1985 proshots, or other lower resolution images.

And marvel I did.

At first, I began to set out to address the contributions made to the show by designer Patricia Zipprodt in collaboration with Ann Hould-Ward. Quickly I fell into a (rather substantial) tangent rabbit hole – concerning over a century’s worth of interconnected designers who are responsible for hundreds of some of the most memorable Broadway shows between them.

It is impossible to look at the work of just one or two of these women without also discussing the others that came before them or were inspired by them.

Journey with me then if you will on this retrospective endeavour to explore the work and legacy that some of these designers have created, and some of the contexts in which they did so.

A set of podcasts featuring Ann Hould-Ward, including Behind the Curtain (Ep. 229) and Broadway Nation (Eps. 17 and 18), invaluably introduce some of the information discussed here and, most crucially, provide a first-hand, verbal link back to this history. The latter show sets out the case for a “succession of dynamic women that goes back to the earliest days of the Broadway musical and continues right up to today”, all of whom “were mentored by one or more of the great [designers] before them, [all] became Tony award-winning [stars] in their own right, and [all] have passed on the [craft] to the next generation.”

A chronological, linear descendancy links these designers across multiple centuries, starting in 1880 with Aline Bernstein, then moving to Irene Sharaff, then to Patricia Zipprodt, then to the present day with Ann Hould-Ward. Other designers branch from or interact with this linear chronology in different ways, such as Florence Klotz and Ann Roth – who, like Patricia Zipprodt, were also mentored by Aline Bernstein – or Theoni V. Aldredge, who stands apart from this connected tree, but whose career closely parallels the chronology of its central portion. There were, of course, many other designers and women also working within this era that provided even further momentous contributions to the world of costume design, but in this piece, the focus will remain primarily on these seven figures.

As the main creditor of the designs for Sunday in the Park with George, let’s start with Patricia (Pat) Zipprodt.

Born in 1925, Pat studied at the Fashion Institute of Technology (FIT) in New York after winning a scholarship there in 1951. Through teaching herself “all of costume history by studying materials at the New York Public Library”, she passed her entrance exam to the United Scenic Artists Union in 1954. This itself was a feat only possible through Aline Bernstein’s pioneering steps in demanding and starting female acceptance into this same union for the first time just under 30 years previously.

Pat made her individual costume design debut a year after assisting Irene Sharaff on Happy Hunting in 1956 – Ethel Merman’s last new Broadway credit. Of the more than 50 shows she subsequently designed, some of Pat’s most significant musicals include: She Loves Me (1963) Fiddler on the Roof (1964) Cabaret (1966) Zorba (1968) 1776 (1969) Pippin (1972) Mack & Mabel (1974) Chicago (1975) Alice in Wonderland (1983) Sunday in the Park with George (1984) Sweet Charity (1986) Into the Woods (1987) - preliminary work

Other notable play credits included: The Little Foxes (1967) The Glass Menagerie (1983) Cat on a Hot Tin Roof (1990)

Yes. One person designed all of those shows. Many of the most beloved pieces in modern musical theatre history. Somewhat baffling.

Her work notably earned her 11 Tony nominations, 3 wins, an induction into the Theatre Hall of Fame in 1992, and the Irene Sharaff award for lifetime achievement in costume design in 1997.

By 1983, Pat was one of the most well-respected designers of her era. When the offer for Sunday in the Park with George came in, she was less than enamoured by being confined to the ill-suited basements at Playwright’s Horizons all day, designing full costumes for a story not even yet in existence. From-the-ground-up workshops are common now, but at the time, Sunday was one of the first of its kind.

Rather than flatly declining, she asked Ann Hould-Ward, previously her assistant and intern who had now been designing for 2-3 years on her own, if she was interested in collaborating. She was. The two divided the designing between them, like Pat creating Bernadette’s opening pink and white dress, and Ann her final red and purple dress.

Which indeed leads to the question of the infamous creation worn in the opening number. No attemptedly comprehensive look at the costumes in Sunday would be complete without addressing it or its masterful mechanics.

To enable Bernadette to spring miraculously and seemingly effortlessly from her outer confines, Ann and Pat enlisted the help of a man with a “Theatre Magics” company in Ohio. Dubbed ‘The Iron Dress’, the gasp-inducing motion required a wire frame embedded into the material, entities called ‘moonwalker legs and feet’, and two garage door openers coming up through the stage to lever the two halves apart. The mechanism – highly impressive in its periods of functionality – wasn’t without its flaws. Ann recalls “there were nights during previews where [Bernadette] couldn’t get out of the dress”. Or worse, a night where “the dress closed up completely. And it wouldn’t open up again!”. As Bernadette finished her number, there was nothing else within her power she could do, so she simply “grabbed it under her arm and carried it off stage.”

What visuals. Evidently, the course of costume design is not always plain sailing.

This sentiment is exhibited in the fact design work is a physical materialisation of other creators’ visions, thus foregrounding the tricky need for collaboration and compromise. This is at once a skill, very much part of the job description, and not always pleasant – in navigating any divides between one’s own ideas and those of other people.

Sunday in the Park with George was no exception in requiring such a moment of compromise and revision. With the show already on Broadway in previews, Stephen Sondheim decreed the little girl Louise’s dress “needs to be white” – not the “turquoisey blue” undertone Pat and Ann had already created it with. White, to better spotlight the painting’s centre.

Requests for alterations are easier to comprehend when they are done with equanimity and have justification. Sondheim said he would pay for the new dress himself, and in Seurat’s original painting, the little girl is very brightly the focal centre point of the piece. On this occasion, all agreed that Sondheim was “absolutely right”. A new dress was made.

Other artistic differences aren’t always as amicable.

In Pat Zipprodt’s first show, Happy Hunting with Ethel Merman in 1956, some creatives and directors were getting in vociferous, progress-stopping arguments over a dress and a scene in which Ethel was to jump over a fence. Then magically, the dress went missing. Pat was working at the time as an assistant to the senior Irene Sharaff, and Pat herself was the one to find the dress the next morning. It was in the basement. Covered in black and wholly unwearable. Sharaff had spray painted the dress black in protest against the “bickering”. Indeed, Sharaff disappeared, not to be seen again until the show arrived on Broadway.

Those that worked with her soon found that Sharaff was one to be listened to and respected – as Hal Prince did during West Side Story. After the show opened in 1957, Hal replaced her 40 pairs of meticulously created and individually dyed, battered, and re-dyed jeans with off-the-rack copies. His reasoning was this: “How foolish to be wasting money when we can make a promotional arrangement with Levi Strauss to supply blue jeans free for program credit?” A year later, he looked at their show, and wondered “What’s happened?”

What had happened was that the production had lost its spark and noticeable portions of its beauty, vibrancy, and subtle individuality. Sharaff’s unique creations quickly returned, and Hal had learned his lesson. By the time Sharaff’s mentee, Pat, had “designed the most expensive rags for the company to wear” with this same idiosyncratic dyeing process for Fiddler on the Roof in 1964, Hal recognised the value of this particularity and the disproportionately large payoff even ostensibly simple garments can bring.

Irene Sharaff is remembered as one of the greatest designers ever. Born in 1910, she was mentored by Aline Bernstein, first assisting her on 1928’s original staging of Hedda Gabler.

Throughout her 56 year career, she designed more than 52 Broadway musicals. Some particularly memorable entities include: The Boys from Syracuse (1938) Lady in the Dark (1943) Candide (1956) Happy Hunting (1956) Sweet Charity (1966) The King and I (1951, 1956) West Side Story (1957, 1961) Funny Girl (1964, 1968)

For the last three productions, she would reprise her work on Broadway in the subsequent and indelibly enduring film adaptations of the same shows.

Her work in the theatre earned her 6 Tony nominations and 1 win, though her work in Hollywood was perhaps even more well rewarded – earning 5 Academy Awards from a total of 15 nominations.

Some of Sharaff’s additional film credits included: Meet Me in St. Louis (1944) Ziegfeld Follies (1946) An American in Paris (1951) Call Me Madam (1953) A Star is Born (1954) – partial Guys and Dolls (1955) Cleopatra (1963) Who’s Afraid of Virginia Woolf? (1966) Hello Dolly! (1969) Mommie Dearest (1981)

It’s a remarkable list. But it is too more than just a list.

Famously, Judy’s red scarlet ballgown in Meet Me in St. Louis was termed the “most sophisticated costume [she’d] yet worn on the screen.”

It has been written that Sharaff’s “last film was probably the only bad one on which she worked,” – the infamous pillar of camp culture, Mommie Dearest, in 1981 – “but its perpetrators knew that to recreate the Hollywood of Joan Crawford, it required an artist who understood the particular glamour of the Crawford era.” And at the time, there were very few – if any – who could fill that requirement better than Irene Sharaff.

The 1963 production of Cleopatra is perhaps an even more infamous endeavour. Notoriously fraught with problems, the film was at that point the most expensive ever made. It nearly bankrupted 20th Century Fox, in light of varying issues like long production delays, a revolving carousel of directors, the beginning of the infamous Burton/Taylor affair and resulting media storm, and bouts of Elizabeth’s ill-health that “nearly killed her”. In that turbulent environment, Sharaff is highlighted as one of the figures instrumental in the film’s eventual completion – “adjusting Elizabeth Taylor’s costumes when her weight fluctuated overnight” so the world finally received the visual spectacle they were all ardently anticipating.

But even beyond that, Sharaff’s work had impacts more significantly and extensively than the immediate products of the shows or films themselves. Within a few years of her “vibrant Thai silk costumes for ‘The King and I’ in 1951, …silk became Thailand’s best-known export.” Her designs changed the entire economic landscape of the country.

It’s little wonder that in that era, Sharaff was known as “one of the most sought-after and highest-paid people in her profession.” With discussions and favourable comparisions alongside none other than Old Hollywood’s most beloved designer, Edith Head, Irene deserves her place in history to be recognised as one of the foremost significant pillars of the design world.

In this respected position, Irene Sharaff was able to pass on her knowledge by mentoring others too as well as Patricia Zipprodt, like Ann Roth and Florence Klotz, who have in turn gone on to further have their own highly commendable successes in the industry.

Florence “Flossie” Klotz, born in 1920, is the only Broadway costume designer to have won six Tony awards. She did so, all of them for musicals, and all of them directed by Hal Prince, in a marker of their long and meaningful collaboration.

Indeed, Flossie’s life partner was Ruth Mitchell – Hal’s long-time assistant, and herself legendary stage manager, associate director and producer of over 43 shows. Together, Flossie and Ruth were dubbed a “power couple of Broadway”.

Flossie’s shows with Hal included: Follies (1971) A Little Night Music (1973) Pacific Overtures (1976) Grind (1985) Kiss of the Spiderwoman (1993) Show Boat (1995)

And additional shows amongst her credits extend to: Side by Side by Sondheim (1977) On the Twentieth Century (1978) The Little Foxes (1981) A Doll’s Life (1982) Jerry’s Girls (1985)

Earlier in her career, she would first find her footing as an assistant designer on some of the Golden Age’s most pivotal shows like: The King and I (1951) Pal Joey (1952) Silk Stockings (1955) Carousel (1957) The Sound of Music (1959)

The original production of Follies marked the first time Florence was seriously recognised for her work. Before this point, she was not yet anywhere close to being considered as having broken into the ranks of Broadway’s “reigning designers” of that era. Follies changed matters, providing both an indication of the talent of her work to come, and creating history in being commended for producing some of the “best costumes to be seen on Broadway” in recent memory – as Clive Barnes wrote in The New York Times. Fuller discussion is merited given that the costumes of Follies are always one of the show’s central points of debate and have been crucial to the reception of the original production as well as every single revival that has followed in the 50 years since.

In this instance, Ted Chapin would record from his book ‘Everything Was Possible: The Birth of the Musical ‘Follies’ how “the costumes were so opulent, they put the show over-budget.” Moreover, that “talking about the show years later, [Florence] said the costumes could not be made today. ‘Not only would they cost upwards of $2 million, but we used fabrics from England that aren’t even made anymore.’” Broadway then does indeed no longer look like Broadway now.

This “surreal tableau” Flossie created, including “three-foot-high ostrich feather headdresses, Marie Antoinette wigs adorned with musical instruments and birdcages, and gowns embellished with translucent butterfly wings”, remains arguably one of the most impressive and jaw-dropping spectacles to have ever graced a Broadway stage even to this day.

As for Ann Roth, born in 1931, she is still to this day making her own history – recently becoming the joint eldest nominee at 89 for an Oscar (her 5th), for her work on 2020′s Ma Rainey’s Black Bottom. Now as of April 26th, Ann has just made history even further by becoming the oldest woman to win a competitive Academy Award ever. She has an impressive array of Hollywood credits to her name in addition to a roster of Broadway design projects, which have earned her 12 Tony nominations.

Some of her work in the theatre includes: The Women (1973) The Best Little Whorehouse in Texas (1978) They're Playing Our Song (1979) Singin' in the Rain (1985) Present Laughter (1996) Hedda Gabler (2009) A Raisin in the Sun (2014) Shuffle Along (2016) The Prom (2018)

Making her way over to Hollywood in the ‘70s, she has left an indelible and lasting visual impact on the arts through films like: Klute (1971) The Goodbye Girl (1977) Hair (1979) 9 to 5 (1980) Silkwood (1983) Postcards from the Edge (1990) The Birdcage (1996) The Hours (2002) Mamma Mia! (2008) Ma Rainey’s Black Bottom (2020)

It’s clear from this branching 'tree' to see how far the impact of just one woman passing on her time and knowledge to others who are starting out can spread.

This art of acting as a conduit for valuable insights was something Irene Sharaff had learned from her own mentor and predecessor, Aline Bernstein. Aline was viewed as “the first woman in the [US] to gain prominence in the male-dominated field of set and costume design,” and was too a strong proponent of passing on the unique knowledge she had acquired as a pioneer and forerunner in the field.

Born in 1880, Bernstein is recognised as “one of the first theatrical designers in New York to make sets and costumes entirely from scratch and craft moving sets” while Broadway was still very much in its infancy of taking shape as the world we know today. This she did for more than one hundred shows over decades of her work in the theatre. These shows included the spectacular Grand Street Follies (1924-27), and original premier productions of plays like some of the following: Ibsen’s Hedda Gabler (1928) J.M Barrie’s Peter Pan (1928) Grand Hotel (1930) Phillip Barry’s Animal Kingdom (1932) Chekov’s The Seagull (1937) Both Lillian Hellman’s The Children’s Hour (1934) and The Little Foxes (1939)

Beyond direct design work, Bernstein founded what was to become the Neighbourhood Playhouse (the notable New York acting school) and was influential in the “Little Theatre movement that sprung up across America in 1910”. These were the “forerunners of the non-profit theatres we see today” and she continued to work in this realm even after moving into commercial theatre.

Bernstein also established the Museum of Costume Art, which later became the Costume Institute of the Met Museum of Art, where she served as president from 1944 to her death in 1955. This is what the Met Gala raises money for every year. So for long as you have the world’s biggest celebrities parading up and down red carpets in high fashion pieces, you have Aline Bernstein to remember – as none of that would be happening without her.

During the last fifteen years of her life, Bernstein taught and served as a consultant in theatre programs at academic institutions including Yale, Harvard, and Vassar – keen to connect the community and facilitate an exchange of wisdom and information to new descendants and the next generation.

Many designers came somewhere out of this linear descendancy. One notable exception, with no American mentor, was Theoni V. Aldredge. Born in 1922 and trained in Greece, Theoni emigrated to the US, met her husband, Tom Aldredge – himself of Into the Woods and theatre notoriety – and went on to design more than 100 Broadway shows. For her work, she earned 3 Tony wins from 11 nominations from projects such as: Anyone Can Whistle (1964) A Chorus Line (1975) Annie (1977) Barnum (1980) 42nd Street (1980) Woman of the Year (1981) Dreamgirls (1981) La Cage aux Folles (1983) The Rink (1984)

One of the main features that typify Theoni’s design style and could be attributed to a certain unique and distinctive “European flair” is her strong use of vibrant colour. This is a sentiment instantly apparent in looking longitudinally at some of her work.

In Ann Hould-Ward’s words, Theoni speaks to the “great generosity” of this profession. Theoni went out of her way to call Ann apropos of nothing early in the morning at some unknown hotel just after Ann won her first Tony for Beauty and the Beast in 1994, purring “Dahhling, I told you so!” These were women that had their disagreements, yes, but ultimately shared their knowledge and congratulated each other for their successes.

Similar anecdotal goodwill can be found in Pat Zipprodt’s call to Ann on the night of the 1987 Tony’s – where Ann was nominated for Into the Woods – with Pat singing “Have wonderful night! You’re not gonna win! …[laugh] but I love you anyway!”

This well-wishing phone call is all the more poignant considering Pat was originally involved with doing the costumes for Into the Woods, in reprise of their previous collaboration on Sunday in the Park with George.

If, for example, Theoni instinctively is remembered for bright colour, one of the features that Pat is first remembered for is her dedicated approach to research for her designs. Indeed, the New York Public Library archives document how the remaining physical evidence of this research she conducted is “particularly thorough” in the section on Into the Woods. Before the show finally hit Broadway in 1987 with Ann Hould-Ward’s designs, records show Pat had done extensive investigation herself into materials, ideas and prospective creations all through 1986.

Both Ann and Pat worked on the show out of town in try-outs at the Old Globe theatre in San Diego. But when it came to negotiating Broadway contracts, the situation became “tricky” and later “untenable” with Pat and the producers. Ann was “allowed to step in and design” the show alone instead.

The lack of harboured resentment on Patricia’s behalf speaks to her character and the pair’s relationship, such that Ann still considered her “my dear and beloved friend” for over 25 years, and was “at [Pat’s] bed when she died”.

Though they parted ways ultimately for Into the Woods, you can very much feel a continuation between their work on Sunday in the Park with George a few years previously, especially considering how tactile the designs appear in both shows. This tactility is something the shows’ book writer and director, James Lapine, was specific about. Lapine would remark in his initial ideas and inspirations that he wanted a graphic quality to the costumes on this occasion, like “so many sketches of the fairy-tales do”.

Ann fed that sentiment through her final creations, with a wide variety of materials and textures being used across the whole show – like “ribbons with ribbons seamed through them”, “all sorts of applique”, “frothy organzas and rembriodered organzas”. A specific example documents how Joanna Gleason’s shawl as the Baker’s Wife was pieced together, cut apart, and put back together again before resembling its final form.

This highly involved principle demonstrates another manner of inventive design that uses a different method but maintains the aim of particularity as discussed previously with Patricia and Irene’s complex dyeing and re-dyeing process. Pushing the confines of what is possible with the materials at hand to create a variety of colours, shades, and textures ultimately produces visual entities that are complex to look at. Confusing the eye like this “holds attention longer”, Ann maintains, which makes viewers look more intricately at individual segments of the production, and enables the costume design to guide specific focus by not immediately ceding attention elsewhere.

Understanding the methods behind the resultant impacts of a show can be as, if not more, important and interesting than the final product of the show itself sometimes. A phone call Ann had last August with James Lapine reminds us this is a notion we may be treated more to in the imminent future, when he called to enquire as to the location of some design sketches for the book he is working on (Putting It Together: How Stephen Sondheim and I Created 'Sunday in the Park with George') to document more thoroughly the genesis of the pair’s landmark and beloved musical.

In continuation of the notion that origin stories contain their own intrinsic value beyond any final product, Ann first became Pat’s intern through a heart-warming and tenacious tale. Ann sent letters to three notable designers when finishing graduate school. Only Patricia Zipprodt replied, with a message to say she “didn’t have anything now but let me think about it and maybe in the future.” It got to the future, and Ann took the encouragement of her previous response to try and contact Pat again. Upon being told she was out of town with a show, Ann proceeded to chase Pat through various phone books and telephone wires across different states and theatres until she finally found her. She was bolstered by the specifics of their call and ran off the phone to write an imploring note – hinging on the premise of a shared connection to Montana. She took an arrow, stabbed it through a cowboy hat, put it in a box with the note that was written on raw hide, and mailed it to New York with bated breath and all of her hopes and wishes.

Pat was knife-edgingly close to missing the box, through a matter of circumstance and timing. Importantly, she didn’t. Ann got a response, and it boded well: “Alright alright alright! You can come to New York!”

Subsequently, Ann’s long career in the design world of the theatre has included notable credits such as: Sunday in the Park with George (1984) Into the Woods (1987, 1997) Falsettos (1992) Beauty and the Beast (1994, 1997) Little Me (1998) Company (2006) Road Show (2008) The People in the Picture (2011) Merrily We Roll Along (1985, 1990, 2012, segment in Six by Sondheim 2013) Passion (2013) The Visit (2015) The Color Purple (2015) The Prince of Egypt (2021)

From early days in the city sleeping on a piece of foam on a friend’s floor, to working collaboratively alongside Pat, to using what she’d learnt from her mentor in designing whole shows herself, and going on to win prestigious awards for her work – the cycle of the theatre and the importance of handing down wisdom from those who possess it is never more evident.

As Ann summarises it meaningfully, “the theatre is a continuing, changing, evolving, emotional ball”. It’s raw, it’s alive, it needs people, it needs stories, it needs documentation of history to remember all that came before.

In periods where there can physically be no new theatre, it’s made ever the more clear for the need not to forget what value there is in the tales to be told from the past.

Through this retrospective, we’ve seen the tour de force influence of a relatively small handful of women shaping a relatively large portion of the visual scape of some of Broadway’s brightest moments.

But it’s significant to consider how disproportionate this female impact was, in contrast with how massively male dominated the rest of the creative theatre industry has been across the last century.

Assessing variations in attitudes and approaches to relationships and families in these women in the context of their professional careers over this time period presents interesting observations. And indeed, manners in which things have changed over the past hundred years.

As Ann Hould-Ward speaks of her experiences, one of her reflections is how much this was a “very male dominated world”. And one that didn’t accommodate for women with families who also wanted careers. As an intern, she didn’t even feel she could tell Patricia Zipprodt about the existence of her own young child until after 6 months of working with her. With all of these male figures around them, it would be often questioned “How are you going to do the work? How are you going to manage [with a family]?”, and that it was “harder to convince people that you were going to be able to do out-of-towns, to be able to go places.” Simply put, the industry “didn't have many designers who were married with children.”

Patricia herself in the previous generation demonstrates this restricting ethos. “In 1993, Zipprodt married a man whose proposal she had refused some 43 years earlier.” She had just newly graduated college and “she declined [his proposal] and instead moved to New York.” Faced with the family or career conundrum, she chose the latter. By the 1950s, it then wasn’t seen as uncommon to have both, it was seen as impossible.

Her husband died just five years after the pair were married in 1998, as did Patricia herself the following year. One has to wonder if alternative decisions would’ve been made and lives lived differently if she’d experienced a different context for working women in her younger life.

But occupying any space in the theatre at all was only possible because of the efforts of and strides made by women in previous generations.

When Aline Bernstein first started designing for Broadway theatre in 1916, women couldn’t even vote. She became the first female member of the United Scenic Artists of America union in 1926, but only because she was sworn in under the false and male moniker of brother Bernstein. In fact, biographies often centralise on her involvement in a “passionate” extramarital love affair with novelist Thomas Wolfe – disproportionately so for all of her remarkable contributions to the theatrical, charitable and academic worlds, and instead having her life defined through her interactions with men.

As such, it is apparent how any significant interactions with men often had direct implications over a woman’s career, especially in this earlier half of the century. Only in their absence was there comparative capacity to flourish professionally.

Irene Sharaff had no notable relationships with men. She did however have a significant partnership with Chinese-American painter and writer Mai-mai Sze from “the mid-1930s until her death”. Though this was not (nor could not be) publicly recognised or documented at the time, later by close acquaintances the pair would be described as a “devoted couple”, “inseparable”, and as holding “love and admiration for one another [that] was apparent to everyone who knew them.” This manner of relationship for Irene in the context of her career can be theorised as having allowed her the capacity to “reach a level of professional success that would have been unthinkable for most straight women of [her] generation”.

Moving forwards in time, Irene and Mai-mai presently rest where their ashes are buried under “two halves of the same rock” at the entrance to the Music and Meditation Pavilion at Lucy Cavendish College in Cambridge, which was “built following a donation by Sharaff and Sze”. I postulate that this site would make for an interesting slice of history and a perhaps more thought-provoking deviation for tourists away from being shepherded up and down past King’s College on King’s Parade as more usually upon a visit to Cambridge.

In this more modern society at the other end of this linear tree of remarkable designers, options for women to be more open and in control of their personal and professional lives have increased somewhat.

Ann Hould-Ward later in her career would no longer “hide that [she] was a mother”, in fear of not being taken seriously. Rather, she “made a concerted effort to talk about [her] child”, saying “because at that point I had a modicum of success. And I thought it was supportive for other women that I could do this.”

If one aspect passed down between these women in history are details of the craft and knowledge accrued along the way, this statement by Ann represents an alternative facet and direction that teaching of the future can take. Namely, that by showing through example, newer generations will be able to comprehend the feasibility of occupying different options and spaces as professional women. Existing not just as designers, or wives, or mothers, or all, or one – but as people, who possess an immense talent and skill. And that it is now not just possible, but common, to be multifaceted and live the way you want to live while working.

This is not to say all of the restrictions and barriers faced by women in previous generations have been removed, but rather that as we build a larger wealth of history of women acting with autonomy and control to refer back to, things can only get easier to build upon for the future.

Who knows what Broadway and theatre in general will look like when it returns – both on the surface with respect to this facet of costume design, and also more deeply as to the inner machinations of how shows are put together and presented. The largely male environment and the need to tick corporate and commercial boxes will not have vanished. One can only hope that this long period of stasis will have foregrounded the need and, most importantly, provided the time to revaluate the ethos in which shows are often staged, and the ways in which minority groups – like women – are able to work and be successful within the theatre in all of the many shows to come.

Notable sources:

Photographs – predominantly from the New York Public Library digital archives. IBDB – the Internet Broadway Database. Broadway Nation Podcast (Eps. #17 and #18), David Armstrong, featuring Ann Hould-Ward, 2020. Behind the Curtain: Broadway’s Living Legends Podcast (Ep. #229), Robert W Schneider and Kevin David Thomas, featuring Ann Hould-Ward, 2020. Sense of Occasion, Harold Prince, 2017. Everything Was Possible: The Birth of the Musical ‘Follies’, Ted Chapin, 2003. Finishing the Hat: Collected Lyrics (1954–1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes, Stephen Sondheim, 2010. The Complete Book of 1970s Broadway Musicals, Dan Deitz, 2015. The Complete Book of 1980s Broadway Musicals, Dan Dietz, 2016. Inventory of the Patricia Zipprodt Papers and Designs at the New York Public Library, 2004 – https://www.nypl.org/sites/default/files/archivalcollections/pdf/thezippr.pdf Extravagant Crowd’s Carl Van Vecten’s Portraits of Women, Aline Bernstein – http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/bernstein.html Jewish Heroes & Heroines of America: 150 True Stories of American Jewish Heroism – Aline Bernstein, Seymour Brody, 1996 – https://www.jewishvirtuallibrary.org/aline-bernstein Ann Hould-Ward Talks Original “Into the Woods” Costume Designs, 2016 – https://www.youtube.com/watch?v=4EPe77c6xzo&ab_channel=Playbill American Theatre Wing’s Working in the Theatre series, The Design Panel, 1993 – https://www.youtube.com/watch?v=9sp-aMQHf-U&t=2167s&ab_channel=AmericanTheatreWing Journal of the History of Ideas Blog, Mai-mai Sze and Irene Sharaff in Public and in Private, Erin McGuirl, 2016 – https://jhiblog.org/2016/05/16/mai-mai-sze-and-irene-sharaff-in-public-and-in-private/ Irene Sharaff’s obituary, The New York Times, Marvine Howe, 1993 – https://www.nytimes.com/1993/08/17/obituaries/irene-sharaff-designer-83-dies-costumes-won-tony-and-oscars.html Obituary: Irene Sharaff, The Independent, David Shipman, 2011 – https://www.independent.co.uk/news/people/obituary-irene-sharaff-1463219.html Broadway Design Exchange – Florence Klotz – https://www.broadwaydesignexchange.com/collections/florence-klotz Obituary: Florence Klotz, The New York Times, 2006 – https://www.nytimes.com/2006/11/03/obituaries/03klotz.html

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violetrose-art · 3 years

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Frankenweenie Headcannons, Theories, and Ideas

This is just a list of the theories, headcannons, and ideas I came up with for Tim Burton's Frankenweenie. I might add more later on, so watch out

-When he was six years old, Victor Frankenstein got Sparky as a small puppy from the local pet shop

-Elsa got Persephone as a gift for her seventh birthday

-Victor’s full name is Victor Charles Frankenstein

-Victor is strongly not fond of sports, especially baseball. But he does love to play fetch with Sparky and ride his bike

-Victor secretly has a crush on Elsa, but he’s too nervous to say anything. But he wouldn’t mind just being friends with her

-Even though he doesn’t get along too well with Toshiaki and Nassor very well, Victor doesn’t mind Bob (who was one of the “cool kids”) being nice to him

-Victor used to have a pen pal in London named Shamus Holmes. They wrote to each other back and forth almost every week, until Victor reached college. That was when the letters from Shamus stopped coming

-Victor isn’t allergic to anything, but he does get nauseous around peaches for some reason

-When he grows up, Victor either wants to become a scientist, a vet, or a movie director… but he can’t decide

-Victor likes to watch both horror and sci-fi films. His favorites are Karloff’s “Frankenstein”, “The Fly”, “The Beast from 20,000 Fathoms”, “Behemoth the Sea Monster”, and “Earth vs. the Flying Saucers”

-The Monday after Dutch Day, Victor was told to stay after school for baseball practice, but when he hit the ball and ran around the diamond, he broke his arm and got a black eye and he was suspended from the baseball team… which he thought was the best day ever

-Victor isn’t particularly fond of his young cousin, Vincent Malloy. He’s often annoyed by Vincent's slightly obsessive mannerisms and all of his Vincent Price talk and Vincent's mother blames Victor for introducing her son to scary movies in the first place

-Victor was born on August 31st, 1957

-Elsa’s full name is Elsa Anais Van Helsing

-Victor and Elsa first met on their first day in kindergarten. They both reached out to grab the same toy, but their hands touched and their eyes met. After a tiny squabble over the toy, they started playing together and they quickly became friends

-Elsa was born on October 28th, 1957

-Elsa isn’t into sports, but she enjoys going swimming or roller skating on occasion… She also likes to watch Victor Frankenstein at baseball practice sometimes

-Elsa is highly allergic to bees and pistachios

-A year after Dutch Day, Mayor Bergermeister forced Elsa to take ballet lessons recently and she doesn’t like it

-Elsa has an interest in history and she thought about becoming a historian someday

-Elsa has a secret crush on Victor, but she’s too shy to say anything

-After the events of Dutch Day, Victor promised never to reanimate Sparky again if he died one more time. Eventually when he was in his late teen years, he let Sparky die because he and Elsa wanted Sparky and Persephone to be together in death. The two dogs were buried in the pet cemetery together (Romeo and Juliet style)

-Elsa likes to watch horror movies in secret. Her absolute favorites are “Bride of Frankenstein”, “Dracula”, and “The Phantom of the Opera”

-After Dutch Day, Victor and Elsa started to grow closer and closer, as well as their dogs Sparky and Persephone

-Despite her uncle's protests of having a dog around, he agreed to let Elsa keep Persephone. But he insists that she keep the dog away from his front lawn

-Sparky and Persephone had four puppies together. Their names are Coal, Raven, Anastasia, and Hades

-When they were in the eighth grade, Victor and Elsa had their first kiss at a Halloween dance at school. They had their second kiss after a Christmas dance recital; they were performing the Nutcracker together. They started officially dating when they were freshmen in high school

-Elsa’s favorite books are “To Kill a Mockingbird”, “Alice’s Adventures in Wonderland”, “The Legend of Sleepy Hollow”, “Romeo and Juliet” and other works of William Shakespeare and her favorite writers are Lewis Carroll, Harper Lee, and Shakespeare. She also enjoys Edgar Allen Poe’s works

-Elsa considers Weird Girl (aka, Mindy) a friend, but she doesn’t like it when she creepily stares at her

-Elsa had a pen pal in New York City named Kristen. They wrote to each other a few times a month, but they lost touch when they reached senior year in high school

-When Victor and Elsa grew up and got married, they had two children. Their names are Peter Timothy Frankenstein (age 12) and Moira Juliet Frankenstein (age 8)

-Weird Girl’s full name is Mindy Cecilia White

-Mindy was raised by a single mother who was a medium, as well as a psychiatrist

-Mr. Whiskers was adopted as a kitten by Mindy from a local pet store. He was the only one of the litter that wasn't adopted because of his large starring eyes

-Mindy took the same ballet classes as Elsa

-Mindy has a crush on Edgar. She secretly hoped that Mr. Whisker's would one day dream about her and Edgar

-After Mr. Whiskers’ death, Mindy fell into a deep depression. Elsa was there to comfort her in her time of need and she even helped her bury the body in the pet cemetery

-Mindy first discovered Mr. Whiskers’ ability to predict the future through cat litter one morning after changing it; it was shaped in the letter B. On that same day, a girl named Brooklyn from school got three strikes at the bowling alley

-Mindy was born on April 3rd, 1958

-Edgar’s full name is Edgar Abraham Gore

-Edgar has a crush on Mindy, but he believes she’s out of his league and was too afraid to approach her

-At one point, Edgar wanted a snake or spider for a pet, but his mother told him no. Once tried to adopt a wild raccoon, but got a scolding from her when he let it into the house

-Edgar was born on September 14th, 1958

-After Dutch Day, Edgar developed a fear of rats

-Edgar still wants to make a death ray with Victor, even though they can't actually make one

-Mindy and Edgar started dating when they were in their sophomore year

-When they got married, Mindy and Edgar had a daughter named Giselle (age 7 ¾)

-Toshiaki’s full name is Toshiaki Ito Oroku

-Toshiaki's mother and father were originally born and raised in Japan until they moved to the US a month before he was born. Being an open community towards different race groups, New Holland was the perfect location to start a family

-Toshiaki was born on May 28th, 1956

-As a reward for winning his first science fair, Toshiaki was given a pet turtle, who he named Shelly. Shelly was unfortunately passed away when he was left outside in the hot afternoon in his aquarium for too long

-Toshiaki and Victor are frenemies, mainly friends, but mostly enemies

-When Shelly died two times, Toshiaki was very upset. But luckily, he had his friends to comfort him after his second and final burial

-In school, Toshiaki met one of the new girls, a Japanese girl named Mae-Lee, and he quickly developed a crush on her

-Years later, Toshiaki and Mae-Lee got married and had two children, a daughter named Shelley Sue (age 8) and Yoshi (age 7 months)

-Nassor’s full name is Nassor Hannibal Karloff

-In school, Nassor stood out from the other children due to his height and cynical macabre personality. The only thing that made him happy as a child was his pet hamster, Colossus. One day Colossus went missing and Nassor was frantic with worry. About five days later, Colossus was found trapped inside the wall and he had starved to death, leaving Nassor heartbroken

-Nassor has an interest in Ancient Egyptian culture around pharaohs and the afterlife. It was his idea as tribute to Colossus would be mummified and placed in a large tomb

-After Dutch Day, Nassor was found wrapped up and he was untied by the others. While he holds no grudges against Toshiaki, he doesn't exactly forgive him for causing Colossus's second death

-Nassor was born on February 24th, 1956

-After Dutch Day, Nassor met one of the new girls, a young lady named Hillary, and he was instantly infatuated with her

-When Nassor and Hillary grew up, they got married and had a son named Darwin (age 12)

-Bob’s full name is Bob Adam Hill

-Bob’s dad passed when he was rather young, making his mother, Mrs. Hill, extremely protective of him, and he finds it super embarrassing

-Bob hates it when people talk about his weight. When he fell down a manhole by accident, he got stuck and had to have a crane to pull him back out

-Bob was born on July 6th, 1957

-In school, Bob had a crush on a girl named Jenny

-Bob first met Toshiaki shortly after Shelly's death. Despite Toshiaki's cold behavior towards him at first, they became good friends

-Bob has an interest in marine life and he has a fish tank full of different kind of fish up in his room

-When he grew up, he and Jenny got married and had a son named Carl (age 12)

-Mr. Frankenstein’s full name is Edward Steven Frankenstein

-Edward was an avid lover of sports, especially baseball. He played as a star athlete in high school, where he first met Susan who was cheering with the other cheerleaders

-Edward has a bit of hard time understanding his son, Victor, but still supports him nonetheless

-Edward likes to role play with his wife Susan that he's a travelling salesman when her "husband" isn't around the house

-Edward often gets people who ask him about his last name Frankenstein. An old family rumor was that he was a direct descendant of the original presumed fictional scientist, Dr. Frankenstein

-Edward tries to get along with his next door neighbor, Mayor Bergermeister

-Mrs. Frankenstein’s full name is Susan Delia Woods Frankenstein

-Susan and Edward Frankenstein first met in back high school; he was a star athlete while she was the head cheerleader. A few years after graduation, they got married and she gave birth to Victor at age 31

-Susan has two sisters, Lillian and Francine. Francine is the eldest, Susan is the middle child, and Lillian is the youngest. Lillian is Vincent Malloy’s mother

-Susan isn't as social with the other mothers/housewives with their gossiping. She prefers the company with her family instead. She is friends with Mrs. Van Helsing, though

-Susan had a pet calico cat when she was younger named Lacey. But poor Lacey died when she was around Victor's age, so she knows what her son was going through

-Mayor Bergermeister’s full name is Robert “Bob” Clarence Bergermeister

-The Bergermeister family has been mayors of New Holland for generations. They were known for their strict laws, rules, and leadership towards its citizens

-Bergermeister has a very low tolerance towards animals, especially dogs… probably because he never had any pets growing up

-Elsa’s father’s full name is Jonathon Gabriel Van Helsing

-Elsa’s mother’s full name is Lydia Hermione Bergermeister Van Helsing

-Mr. and Mrs. Van Helsing are philosophers, hence why they tend to be away a lot. They travel to countries mostly in Europe, like Romania and the Netherlands. They sometimes take Elsa with them when they have to go out of the town, state, or even country. But most often, she stays behind because of school and just wants to be at home and spend time with Victor

-Mayor Bergermeister is in fact the older brother of Lydia by four years. Like most siblings, they do love each other but sometimes can’t stand each other

-Lydia is one of the few people and things that actually scares Mr. Bergermeister, despite the fact that that she’s his little sister. She doesn’t take nonsense from him or anyone else and she’s not afraid to stand up to him. When she’s done, he usually replies weakly “yes, sis” or “yes, little sis”

-Jonathon grew up in Romania for most of his childhood, but when he lost his parents, he immigrated to the United States to make a better life for himself. He met Lydia when he was about to start high school

-Bergermeister loves gardening, especially his first prize flowers. He absolutely hates it when the neighbor's dog lays his "business" all over the lawn

-Bergermeister cares deeply for his niece and younger sister… but he isn't very fond of her husband, Jonathon

-At first, Bergermeister greatly disliked the idea of Elsa and Victor being together, but he eventually grew to respect him

-Bergermeister used to be married; he and his wife even had a son named Bernard. But the couple had a huge fight and they filed for a divorce. When the divorce was finalized, his ex left New Holland and she took Bernard with him

-Bernard Bergermeister was never close with his cousin, Elsa. In fact, Elsa often found Bernard to be quite repulsive

-When Bernard grew up, he met a wealthy young woman named Lucille and they had a son named Bruce (age 13)

-Mr. Rzykruski’s full name is Ivan Darius Rzykruski

-Ivan was born in a small Eastern European village. He grew up influenced around various scientists in the community. Both of his parents were scientists in different fields of expertise and would encourage him to pursue his dreams

-By the time Ivan was 18 years old, he immigrated to the United States and eventually landed a job as a university professor teaching quantum mechanics. He met with various famous scientists in his career

-Ivan tends to be a bit dramatic in his teachings. He briefly took acting classes in his youth, but he wanted to focus more on being a scientist

-During one of his science lectures, Ivan met a woman by the name of Vanessa. They quickly fell in love, got married, and had a son named Dirk. Unfortunately when Dirk was about 9 years old, Vanessa passed away because of cancer. Ivan was heartbroken and he and Dirk missed her terribly. When Dirk was 10, Ivan sent his son to a private boarding school in another part of the state. But when the boy turned 14, he went back to public school

-Dirk grew up and met a woman named Clarice. They got married and had a daughter named Ingrid (age 13). But Clarice died of a terrible sickness when Ingrid was about 3 or 4, then Dirk died in a car crash when Ingrid was about 7. That was when Mr. Rzykruski took his granddaughter in and raised her as his own

-The gym teacher’s full name is Coach Darla Gladys Barnes

-Bob’s mom’s full name is Barbara Deborah Ferguson Hill

-Vincent Malloy’s full name is Vincent Sebastian Malloy

-When Vincent grew up, he met a woman named Marilynn, they got married and had a daughter named Winona (age 7). But Marilynn got into a bad car accident and passed away, leaving Vincent to raise his daughter on his own

-The invisible fish Victor reanimated didn't die. In fact, the fish used its invisibility powers to slip out of the glass jar Edgar was keeping it in and disappeared into the sewer, rumored to still be there

-The reason that New Holland has so many lightning storms is part of an old town legend. Centuries ago when the first settlers built New Holland, there was a young witch by the name of Loretta Thistletwing and while she was a good witch, she kept her true nature a secret from the superstitious townsfolk. Unfortunately, one fateful night, Loretta accidentally caused her powers to be revealed and the townsfolk formed an angry mob to have her killed. However, her beloved familiar black cat, Midnight, heard of the danger and tried to defend his mistress, only to get killed in the process. Outraged by the loss of her beloved pet, Loretta unleashed a curse upon the town right before they burned her at the stake, saying that the town would be cursed with perpetual thunderstorms and any lightning that hit a deceased pet would bring it back to life, unleashing its fury upon the town. This is why the lightning brings dead pets back. But Sparky is the only good one to be reanimated because Victor loved him so much

-Susan and her two sisters are the three granddaughters of Victor Van Dort and Victoria Everglot. Susan’s son and only child, Victor, was named after his great-grandfather who passed away before his birth

-In the past, New Holland had experienced horrible monster attacks and many of them were based on famous movie monsters. There was a mutated bulldog made out of slime (based on the Blob), a half lizard/fly (based on the Fly), a gigantic pet capuchin monkey (based on King Kong), and even a phantom like cat (based on the Phantom of the Opera). Of course, the current townsfolk never believed these supposed stories until the Dutch Day incident

-Legend has it that the curse Loretta put on the town could only be broken when a pet that had been deeply loved by its owner was brought back peaceful and the townsfolk came together to save it should it die again. This ultimately ended up happening by the end of the movie and the curse was unwittingly broken

This is all I've got so far, but feel free to tell me what you think and tell me which one is your favorite

#frankenweenie #Tim Burton

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introvertguide · 3 years

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Influential Directors of the Silent Film Era

Upon hearing that I am a fan of silent era film, people will ask if I have a favorite actor or movie from the time period. However, when I am asked about my favorites from other fans of silent film, it tends to involve my favorite director. This is because silent film actors had to over gesticulate and performed in an unrealistic way and could not use their tone or words to convey emotion. The directors also did not have a way to review as they shot and would have to use editing skills and strategic cover shots to make sure that everything was done properly and come out the way they imagined it. It was up to the director to be creative and they were forced to be innovative and create ways to convey their vision. Luckily for many average or poor directors of the time, audiences were easily impressed. However, today's more demanding and sophisticated audiences can look back at some of the genius behind the films of silent era Hollywood.

Alice Guy-Blache: Matrimony's Speed Limit (1913) and The Fairy of the Cabbages (1896)

Art director of the film studio The Solax Company, the largest pre-Hollywood movie studio, and camera operator for the France based Gaumont Studio headed up by Louis Lemiere, this woman was a director before any kind of gender expectations were even established. She was a pioneer of the use of audio recordings in conjunction with images and the first filmmaker to systematically develop narrative filming. Guy-Blanche didn't just record an image but used editing and juxtaposition to reveal a story behind the moving pictures. In 1914, when Hollywood studios hired almost exclusively upper class white men as directors, she famously said that there was nothing involved in the staging of a movie that a woman could not do just as easily as a man.

Charlie Chaplin: The Kid (1921), The Gold Rush (1923), City Lights (1931), Modern Times (1936), and The Great Dictator (1940)

It is unfortunate that many people today think of Chaplin as silly or for screwball comedy when, in fact, he was a great satirist of the time. He created his comedy through the eyes of the lower economic class that suffered indignities over which they had no control. He traversed the world as his "Tramp" character who found his fortune by being amiable and lucky. The idea that a good attitude and a turn of luck could result in happiness was all that many Americans had during the World Wars and the Great Depression. He played the part of the sad clown and he was eventually kicked out of the country for poking fun at American society. Today he is beloved for his work, but he was more infamous than famous during a large part of his life.

Buster Keaton: Sherlock Jr. (1924), The General (1926), and The Cameraman (1928).

That man that performed the most dangerous of stunts with a deadpan expression, Buster Keaton was a great actor, athlete, stuntman, writer, producer, and director. It is amazing that you could get so much emotion out of a silent actor who does not emote, but Keaton managed to do it. He was also never afraid to go big, often putting his own well being at risk to capture a good shot. Not as well known for his cinematography or editing as many of the other directors of the time, he instead captured performances that were amazing no matter how they were filmed. Famous stunts include the side of a house falling down around him, standing on the front of a moving train, sitting on the side rail of a moving train, and grabbing on to a speeding car with one hand to hitch a ride. If you like films by Jackie Chan, know that he models his films after the work of Buster Keaton: high action and high comedy.

Cecil B. Demille: The Cheat (1915), Male and Female (1919), and The Ten Commandments (1923)

Known as the father of the Hollywood motion picture industry, Demille was the first director to make a real box office hit. He is likely best known for making The Ten Commandments in 1923 and then remaking it again in 1956. If not that, he was also known for his scandalous dramas that depicted women in the nude. This was pre-Code silent film so the rules about what could be shown had not been established. Demille made 30 large production successful films in the silent era and was the most famous director of the time which gave him a lot of freedom. His trademarks were Roman orgies, battles with large wild animals, and large bath scenes. His films are not what most modern film watchers think of when they are considering silent films. That famous quote from the movie Sunset Boulevard in 1950 in which the fading silent actress says "All right, Mr. Demille. I'm ready for my close-up," is referring to this director.

D.W. Griffith: Birth of a Nation (1915) and Intolerance (1916)

Griffith started making films in 1908 and put out just about everything that he recorded. He made 482 films between 1908 and 1914, although most of these were shorts. His most famous film today is absolutely Birth of a Nation and it is one of the most outlandishly racist films of the time. The depiction of black Americans as evil and the Klu Klux Klan as heroes who are protecting the nation didn't even really go over well at that time. Some believe that his follow up the next year called Intolerance was an apology, but the film actually addresses religious and class intolerance and avoids the topic of racism. At the time, Griffith films were known for the massive sets and casts of thousands of extras, but today he is known for his racist social commentary.

Sergei Eisenstein: Battleship Potemkin (1925)

This eccentric Russian director was a pioneer of film theory and the use of montage to show the passage of time. His reputation at the time would probably be similar to Tim Burton or maybe David Lynch. He had a very specific strange style that made his films different from any others. The film Battleship Potemkin is considered to be one of the best movies of all time as rated by Sight and Sound, and generally considered as a great experimental film that found fame in Hollywood as well as Russia.

F.W. Murnau: Nosferatu (1922), Faust (1926), and Sunrise: A Song of Two Humans (1927)

I think that most people would know the bald-headed long-nailed vampire Nosferatu that was a silent era phenomena. It was so iconic that the German film studio that produced the movie was sued by the estate of Bram Stoker and had to close. Faust was his last big budget German film and has an iconic shot of the demon Mephisto raining plague down on a town that was the inspiration for the Demon Mountain in Fantasia (1940). Also, Sunrise is considered one of the best movies of all time by the AFI and by Sight and Sound as well as my favorite silent film. Fun facts: 1) more of Murnau's films have been lost then are still watchable and 2) he died in a car wreck at only 40 when he hired a car to drive up the California coast and the driver was only 14.

Erich von Stroheim: Greed (1924)

Maker of very strange German Expressionist films, Stroheim films are often listed as Horror or Mystery even though he considered himself a dramatic film maker. His most famous movie Greed was supposed to be amazing with an 8 hour run time but it was cut drastically to the point that it makes no sense and was both critically and publicly panned when an extremely abridged version was released in the U.S. Over half the film was lost and a complete version no longer exists. Besides this film, Stroheim was even better known for being the butler in the film Sunset Boulevard as a former director who retired to be with an aging silent film star. He also made a movie called Between Two Women (1937) that told the story of a female burn victim that was inspired by the story of his wife being burned in an explosion in a shop on the actual Sunset Boulevard.

Victor Fleming: The Wizard of Oz (1939) and Gone With the Wind (1939)

Although not known for his silent films, Fleming did get his start during the silent era. He was a cinematographer for D.W. Griffith and then Fleming directed his first film in 1919. Most of his silent films were swashbuckling action movies with Douglas Fairbanks or formulaic westerns. He is the only director to have two films on the AFI top 10 and they happened to have come out the same year.

Hal Roach: Lonesome Luke films starring Harold Lloyd, Our Gang shorts, Laurel and Hardy shorts, and Of Mice and Men (1939)

It is not really fair to put Hal Roach in the silent era directors because he was influential at the time but he had a 75 year career. He was a producer and film studio head and even had a studio named after himself. His biggest contribution to the silent era was his production of Harold Lloyd short comedies and he continued to produce films in the early talkies including Laurel and Hardy shorts, Our Gang shorts, and Wil Rogers films. Roach was the inspiration for the film Sullivan's Travels, in which a famous director who only did frivolous comedies goes out into the world to find inspiration to find a serious drama. Roach did direct a single serious drama, Of Mice and Men, but it came out in 1939 and was buried underneath the works of Victor Fleming. The wealthy cigar smoking studio head that many people think of when they picture a film studio suit is based on this guy. The man would not quit and stayed in the business into his 90s and lived to the ripe old age of 100.

#directors #silent films #old Hollywood #1920s #introvert #introverts #influential

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astrognossienne · 3 years

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scandalous star: gary cooper -an analysis

“I don’t like to see exaggerated airs and exploding egos in people who are already established. No player ever rises to prominence solely on talent. They’re molded by forces other than themselves. They should remember this – and at least twice a week drop to their knees and thank Providence for elevating them from cow ranches, dime store ribbon counters and bookkeeping desks. ” - Gary Cooper

He didn’t say much, but when he did, it carried a lot of weight. He was the archetypal hero of the Old West; the quintessential masculine ideal of the stoic and “strong silent type” that most Taurus men are. But for famously laconic Gary Cooper, his good looks and earnest, haunted eyes for decades made him the quintessential lonely American of motion pictures.He was a more equanimous, human protagonist versus boisterous, bigger-than-life Hollywood supermen. He was renowned for his quiet, understated acting style and his individualistic, emotionally restrained, but at times intense screen persona, which was particularly well suited to the many Westerns he made. He was a man’s man...as well as a ladies’ man. Cooper became a hero to many, even as he developed a reputation as one of the most notorious philanderers in Hollywood. Privately a debonair ladykiller with a taste for high society, he crafted an image as just the opposite from his prototype cowboy image he materfully portrayed on the silver screen. He was insatiable, before and during his marriage. How did he reconcile his moral righteousness onscreen (Taurus sun) with his philandering offscreen (Sagittarius moon)? That was the work of the fixers, gossip magazines, and the studio system at large, which ensured that Cooper was never caught, never denounced, and held up as a paragon of American values.

Gary Cooper, according to astrotheme, was a Taurus sun and Sagittarius moon. He was born Frank James Cooper in Helena, Montana, the second son of an English farmer from Bedfordshire, who later became an American lawyer and judge, Charles Henry Cooper (1865-1946), and Kent-born Alice (née Brazier) Cooper (1873-1967). As a child, he met a freed slave woman named Mary Fields, otherwise known as Stagecoach Mary, and so awed by her was she that he later wrote an account of his memories of her in Ebony magazine. His mother hoped for their two sons to receive a better education than that available in Montana and arranged for the boys to attend Dunstable Grammar School in Bedfordshire, England between 1910 and 1913. Upon the outbreak of World War I, Cooper’s mother brought her sons home and enrolled them in a Bozeman, Montana, high school. Upon graduation, he eventually matriculated at Grinnell College in Grinnell, IA, where he attempted to nurture a passion for drawing - until a serious car accident ended his college days in the summer of 1920. He would recover from his severely injured hip through an odd but painful therapy, horseback riding.

When his father retired from the bench and moved his mother to Los Angeles, Cooper gave up agriculture classes to try his hand as a Hollywood extra. Cooper played an extra in a handful of silent films before arriving on the set of The Winning of Barbara Worth in 1926. The actor cast as the second male lead didn’t show, and someone shoved Cooper into the part. He appeared with Clara Bow (who soon became one of his conquests) in her star-making film It, but it was his appearance in another Bow vehicle Wings, released later that same year, truly launched his career. He plays a World War I flying cadet, and although his screentime was still relatively short, there was one scene — an extended close-up shot, the light streaming in from outside — in which he looked gorgeous. In 1929, he filmed The Wolf Song with Lupe Vélez. He soon had an affair with Velez, who purportedly claimed that Cooper “has the biggest organ in Hollywood but not the ass to push it in well.” For more on their relationship, read my star analysis on Lupe.

Cooper filmed The Virginian — his first real “talkie,” and the film was a major hit and cemented the foundation of Cooper’s image. His ability to project elements of his own personality onto the characters he portrayed, to appear natural and authentic in his roles, and to underplay and deliver restrained performances calibrated for the camera and the screen helped make him a cinematic success, often lauded by those he worked with. However, his good looks and charisma made him a success with women, whether he worked with them or not. Over the next few years, Cooper was paired with the most gorgeous and promising female stars in Hollywood —with Carole Lombard in I Take This Woman (whom he slept with), Claudette Colbert in His Woman (whom he allegedly slept with), Marlene Dietrich in Morocco and Desire (who he famously slept with more than once), and Joan Blondell in Make Me a Star (who he allegedly slept with). In 1932, Cooper and his Paramount “rival,” Cary Grant, were cast against Tallulah Bankhead in Devil and the Deep (1932). Like Lupe Velez, Bankhead was a loose cannon, with most famous quote being:

“The only reason I went to Hollywood was to fuck that divine Gary Cooper.”

Amidst all his public and private action, Cooper began courting Veronica “Rocky” Balfe, a starlet who went by the stage name of Sandra Shaw. She was also best known as the blonde dropped by King Kong. The two were wed in late 1933. Balfe retired from the screen to become a wife and mother, with her giving birth to their only child, Maria, in 1937. Cooper portrayed a new type of hero—a champion of the common man—in films like Mr. Deeds Goes To Washington and 1941′s Sergeant York (which won him his first of two Best Actor Oscars). Cooper met Ernest Hemingway at Sun Valley in October 1940 and they were friends for the rest of his life. He co-starred with Ingrid Bergman (with whom he had a year-long affair with) in a the film adaptation of Hemingway’s For Whom the Bell Tolls. He kept starring in more films and bedding his female co-stars until he got more than he bargained for when he made The Fountainhead. Naturally, the 47-year-old Cooper had an affair with his co-star, the 21-year-old Patricia Neal. However, this time things got crazy: Neal wound up pregnant with Cooper’s child. He insisted she have an abortion. When Cooper’s long-suffering wife found out about the relationship, she sent a telegram demanding he end it. This didn’t work; he also confessed that he was in love with Neal, and continued to see her. Cooper and his wife legally separated in May of 1951. Cooper’s daughter Maria, by then in her early teens, famously spat on Neal in public. Neal later claimed that Cooper hit her after she went on a date with Kirk Douglas. Neal ended their relationship in late December 1951. Amid all this drama, Cooper starred in what is now regarded as his defining role: the beleaguered sheriff in High Noon, which won him his second Best Actor Oscar. In later life, he became involved in a relationship with the costume designer Irene, and was, according to Irene, "the only man she ever loved".

Maybe all his previous actions had an affect on him because Cooper converted to Catholicism in 1958, and reconciled with his wife and daughter. Also, he began starring in films that centered around searching for redemption, such as Friendly Persuasion (1956) and Man of the West (1958). In 1960, Cooper fell ill with prostate cancer, which quickly spread to his colon, lungs, and bones; he died of it shortly after his 60th birthday in 1961. A year after his death, Irene committed suicide by jumping from the 11th floor of the Knickerbocker Hotel, after telling Doris Day of her grief over Cooper's death. Regardless of his philandering, regardless of the arduous work of his studio’s publicity departments, there was something plaintive, almost childlike, maybe even innocent about Cooper, so he can easily be forgiven his sins. He acted out what mattered to millions of people, and that act made him a star beyond measure.

Next, I’ll focus on his former paramour Lupe Velez’s arch nemesis. A woman who happened to be wife of MGM art director Cedric Gibbons (Gary Cooper’s wife Rocky’s uncle). She was another pioneer of Mexican cinema who was arguably the first Latina to successfully crossover to Anglo audiences: Leo Dolores del Río.

Stats

birthdate: May 7, 1901

major planets:

Sun: Taurus

Moon: Sagittarius

Rising: Taurus

Mercury: Taurus

Venus: Taurus

Mars: Leo

Midheaven: Aquarius

Jupiter: Capricorn

Saturn: Capricorn

Uranus: Sagittarius

Neptune: Gemini

Pluto: Gemini

Overall personality snapshot: He was torn between an instinct to roam free and a determination to find security and make a solid, lasting contribution to the world. As he repeatedly changed horses in search of both ultimate certainties and high-spirited adventure at the same time, he could find himself deeply divided and uncertain. He sought to earth the fire from heaven and put it to work, but he found all too often that it would not let him rest. In his search for stability and security, he became a farmer and was immediately confronted with the changing seasons. He embraced the solid certainties of geology and are hit by an earthquake. He liked to feel the solid earth move. He sought certitude and permanence, yet his endless inquiries constantly confounded yesterday’s certainties. When he got his own uncertainties together (by accepting he wanted the best of both the changing and the unchanging worlds), he could have been a brilliant teacher, conversationalist, counselor, entertainer, wit, creative artist or entrepreneur – in fact he could have been anything he wanted. Once focused, he could be a human dynamo, and wonderfully humorous, witty and entertaining with it. As he discovered, his quest for solid material certainties did not make a happy bedfellow for his yearning for excitement and larger religious and spiritual understanding. In one way or another, be it through philosophy and the spiritual quest or through writing, music or art, he needed to put together and formulate a total vision of the universe which is based on unassailable facts yet satisfying to his idealism.

Constantly seeking, he was a natural agnostic, applying the criteria of science to counter woolly speculations, yet at the same time highly skeptical of the limited and statistical pronouncements of unthinking science. The danger, if he did not marry these elements within him, is that he would swing from one to the other and undermine the virtues of both. A restless changing of jobs, careers, partners, visions or aspirations left him drunk with his own spinning. When he deliberately tried to remain sober and commonsensical, it seemed to make matters worse for there was something of the gambler in him. This all-or-nothing streak can temporarily overcome your natural caution and enable you to burn your bridges (though you will usually ensure there is something tucked away for a rainy day). He felt an impulsive need to do things on a grand scale, to live with commitment, to feast on the world, and to understand what it was to be alive in all possible ways. He seemed to be called both to explore the reaches of the imagination and to build secure foundations. He brought far-reaching visions into manifestation, and these visions injected his conservative desire for stability and security with flair and colour. His vision of tomorrow and the larger world gave spice to any project he undertook. He saw endless possibilities and wanted to make them real. In this he could be the natural entrepreneur who saw economic opportunities at every turn, an inspiring counselor and teacher, and a stimulating companion whatever he did.

His well-shaped body displayed a warm attractiveness and ripeness. In his later years, he may have needed to watch the tendency to gain weight too easily. His strong broad shoulders supported a very large neck size. His most outstanding feature was his eyes and his gentle smile and voice. He was big-boned. He enjoyed dressing well, preferring soft colours. He was practical, steady and patient, but he could be inflexible in his views. One thing he did have was plenty of common sense and good powers of concentration, although he tended to think that purely abstract thought was a waste of time. His thought processes weren’t as quick as others, but his decisions were made with a lot of thought behind them. He also had the welcome ability to bring people together. He needed to be able to show his originality and independence in any job for complete satisfaction. His work should also satisfy his scientific bent and humanitarian leanings. He needed scope for his inventiveness, because he was able to bring a fresh view to any job. Ideally, his work should permit him to express the idealistic side to him character and allow him to help as many people as possible. He could be extremely efficient in the way that he tried to get maximum result out of minimum effort. He didn’t like extravagance and waste. He was a thoughtful and resourceful person, who was well-informed on many subjects. Success came gradually and as a result of hard work. Success and growth, for him, were expressed by material and financial achievements, bringing status and prestige.Worldly success was well within his reach, because he possessed all the necessary talents to gain power, influence and status. He was practical, determined and patient. When there were hitches in his plans, he simply worked around them. He knew where he was heading to, and had already figured out the best way to use his talents to reach his goals.

Although he could be fairly pessimistic about life in general, it didn’t put him off aiming for the top. He could be very single-minded about reaching his goals, and was prepared to put his career interests above his personal happiness. He was extremely aware of his own worth. He was prepared to work beyond the call of duty. His strong sense of ambition gave him a certain rigidity, arrogance and selfishness in the eyes of others. He belonged to a generation with fiery enthusiasm for new and innovative ideas and concepts. Rejecting the past and its mistakes, he sought new ideals and people to believe in. As a member of this generation, he felt restless and adventurous, and was attracted towards foreign people, places and cultures. As a member of the Gemini Neptune generation, his restless mind pushed him to explore new intellectual fields. He loved communication and the occult and was likely also fascinated by metaphysical phenomena and astrology. As a Gemini Plutonian, he was mentally restless and willing to examine and change old doctrines, ideas and ways of thinking. As a member of this generation, he showed an enormous amount of mental vitality, originality and perception. Traditional customs and taboos were examined and rejected for newer and more original ways of doing things. As opportunities with education expanded, he questioned more and learned more. As a member of this generation, having more than one occupation at a time would not have been unusual to him.

Love/sex life: His sexuality was a wonderful combination of sensuality and basic laziness. He let himself be carried along by his pleasure-seeking instincts, greeting every new experience with fresh eagerness and then slowly draining from that encounter all the joy it has to offer. This passive, easy-going approach to sex not only made for good technique, it also conceals the egocentric strength and stubbornness that was at the core of his erotic nature. People don’t realize that beneath all that luxurious hedonism he was always the person in control. He was a conservative lover for whom appearances were always important. There may have been occasions when his sensuality lured him into indiscretions but he was quick to cover his tracks and hide the evidence. The quiet practicality of his sexual nature served as a handy antidote for his Martian braggadocio. He knew that he was the best there is but he was willing to sit back and let the world find out the good news on its own. In his youth Cooper was endorsed by several female “experts” of the time (such as Clara Bow, Marlene Dietrich and Tallulah Bankhead) as Hollywood’s sexiest man. His soft spoken and manly sex appeal projected just as well on the screen. After marrying at age 32, Cooper’s sex life became somewhat more sedate though he never lost his ability to attract women.

minor asteroids and points:

North Node: Scorpio

Lilith: Scorpio

Vertex: Libra

Fortune: Capricorn

East Point: Taurus

His North Node in Scorpio dictated that he needed to be careful not to let the more emotional side of his personality overwhelm him. Instead, he should have set out to consciously develop his more practical abilities. His Lilith in Scorpio ensured that he was dangerously attracted to those women who seduced and conquered on a daily basis; who liked life intense and was judged for her sexuality and general vibe and learned early on how to deflect moral judgments. His type of women may have been tried in the court of public opinion but no way were they going to show up for the sentencing. His Vertex in Libra, 6th house dictated that he llonged for a union of souls that was based on a model of pure peace and justice. Images come to mind of a mythical life on Venus, the planet of love, where there is never a discordant beat between lovers, but rather, continual harmony even if played in the minor chords. Physical lust was certainly a necessary aspect of two beings eternally intertwined, but the platonic component far outweighed it in importance for him. He had an attitude of duty, obligation and sacrifice when it came to heartfelt interactions. The negative side was the tendency to become hypochondriacal or martyristic to get the love he so desperately wanted. There was a need for others to appreciate the sincerity of his intentions, to the daily tasks he executed in a conscientious and caring way and for others to know that his actions, no matter how routine they may seem, were based on devoted love. His Part of Fortune in Capricorn and Part of Spirit in Cancer dictated that his destiny lay in creating practical and long-lasting achievements. Success came through hard work, determination, responsibility and perseverance. Fulfillment came from observing his progress through life and seeing it take a form and structure that will outlive him. His soul’s purpose guided him towards building security in his life, both emotional and material. He felt spiritual connections and the spark of the divine within his home and family. East Point in Taurus dictated that he was more likely to identify with the need for pleasure (including the potential of liking himself) and comfort.

elemental dominance:

earth

fire

He was a practical, reliable man and could provide structure and protection. He was oriented toward practical experience and thought in terms of doing rather than thinking, feeling, or imagining. Could be materialistic, unimaginative, and resistant to change. But at his best, he provided the practical resources, analysis, and leadership to make dreams come true. He was dynamic and passionate, with strong leadership ability. He generated enormous warmth and vibrancy. He was exciting to be around, because he was genuinely enthusiastic and usually friendly. However, he could either be harnessed into helpful energy or flame up and cause destruction. Ultimately, he chose the latter. Confident and opinionated, he was fond of declarative statements such as “I will do this” or “It’s this way.” When out of control—usually because he was bored, or hadn’t been acknowledged—he was bossy, demanding, and even tyrannical. But at his best, his confidence and vision inspired others to conquer new territory in the world, in society, and in themselves.

modality dominance:

fixed

He liked the challenge of managing existing routines with ever more efficiency, rather than starting new enterprises or finding new ways of doing things. He likely had trouble delegating duties and had a very hard time seeing other points of view; he tried to implement the human need to create stability and order in the wake of change.

house dominants:

12th

9th

8th

He had great interest in the unconscious, and indulged in a lot of hidden and secret affairs. His life was defined by seclusion and escapism. He had a certain mysticism and hidden sensitivity, as well as an intense need for privacy. Traveling, whether physically across the globe, on a mental plane or expanding through study was a major theme in his life. He was not only concerned with learning facts, but also wanted to understand the connections formed between them and the philosophies and concepts they stood for. His conscience, as well as foreign travel, people and places was also of paramount importance in his life. He loved the totality of the human experience and embraced the whole cycle of human life, including birth, sex and death. His darker side, and the complexes and emotions that he preferred to keep hidden, even from himself was a theme throughout his life. His ability to undergo deep personal transformations and spiritual regeneration was also highlighted.

planet dominants:

Venus

Saturn

Sun

He was romantic, attractive and valued beauty, had an artistic instinct, and was sociable. He had an easy ability to create close personal relationships, for better or worse, and to form business partnerships. He believed in the fact that lessons in life were sometimes harsh, that structure and foundation was a great issue in his life, and he had to be taught through through experience what he needed in order to grow. He paid attention to limitations he had and had to learn the rules of the game in this physical reality. He tended to have a practical, prudent outlook. He also likely held rigid beliefs. He had vitality and creativity, as well as a strong ego and was authoritarian and powerful. He likely had strong leadership qualities, he definitely knew who he was, and he had tremendous will. He met challenges and believed in expanding his life.

sign dominants:

Taurus

Sagittarius

Capricorn

His stubbornness and determination kept his around for the long haul on any project or endeavour. He was incredibly patient, singular in his pursuit of goals, and determined to attain what he wanted. Although he lacked versatility, he compensated for it by enduring whatever he had to in order to get what he wanted. He enjoyed being surrounded by nice things. He liked fine art and music, and may have had considerable musical ability. He also had a talent for working with his hands—gardening, woodworking, and sculpting. He sought the truth, expressed it as he saw it—and didn’t care if anyone else agreed with him. He saw the large picture of any issue and couldn’t be bothered with the mundane details. He was always outspoken and likely couldn’t understand why other people weren’t as candid. After all, what was there to hide? He loved his freedom and chafed at any restrictions. He was a serious-minded person who often seemed aloof and tightly in control of his emotions and her personal domain. Even as a youngster, there was a mature air about him, as if he was born with a profound core that few outsiders ever see. He was easily impressed by outward signs of success, but was interested less in money than in the power that money represents. He was a true worker—industrious, efficient, and disciplined. His innate common sense gave her the ability to plan ahead and to work out practical ways of approaching goals. More often than not, he succeeded at whatever he set out to do. He possessed a quiet dignity that was unmistakable.