"In the face of history's most brutal war, as men the world over live by the rule of kill or be killed, India's leader preaches a gospel of never lifting a weapon or pulling a trigger. Here he tells why":
"The principle of non-violence means, in general terms, that men will deliberately shun all weapons of slaughter and the use of force of any kind whatsoever against their fellow men...Are we naive fools? Is non-violence a sort of dreamy wishful thinking that has never had and can never have any real success against the heavy odds of modern armies and the unlimited application of force and frightfulness?"
Those sly dogs at SCRIPT MAGAZINE! They printed the smiling mug of the twenty-five year-old Angela Lansbury (b. 1925) on the cover of their rag, briefly praising her for being the youngest performer to have ever been nominated for an Academy Award (she soon won the 1944 Best Supporting Actress statue for "Gaslight"), and ran a "profile" of the lass on a page eight article that was misleadingly titled "Our Cover Girl", only to devote 85% of the columns to her illustrious pedigree!
Abusive journalists not only make our blood boil, but they also make us write run-on sentences.
The article says nothing about the fact that her love of acting was so great that she braved the U-Boat infested waters of the Atlantic Ocean in 1942 in order to get to Hollywood. However, you will learn about her salad years as a shop girl at the Bullocks Wilshire department store.
2013 marks the 100th year since the first film was made in Hollywood, and in that time one American neighborhood more than any other has consistently supplied the film and television industry with a seemingly inexhaustible pool of talent: Brooklyn, New York. From Clara Bow in the era of silent film to Gabby Sidibe in the digital - the talented sons and daughters of Brooklyn have made their way West and we have all been the beneficiaries.
Writing for one of the earliest issues of VANITY FAIR, playwright and culture critic Mary Cass Canfield slammed some nails into the Futurist coffin a wee bit prematurely in this critical essay titled "The Passing of the Futurists".
The following STAGE MAGAZINE article by American playwright Clare Boothe (Clare Boothe Luce 1903 – 1987) appeared in print shortly after the successful opening of her play, "The Women":
"Of course, writing plays wasn't exactly a flash of genius. I mean I am shewed in spots...But inspiration or calculation, it was frightfully lucky that I hit on writing plays, wasn't it? And it was so wonderfully fortunate that quite a lot of people that I'd met socially on Park Avenue, at very exclusive parties, people like cowboys, cooks, manicurists, nurses, hat-check girls, fitters, exchorines, declasses countesses, Westport intellectuals, Hollywood producers Southern girls and radical columnists, gave me such lovely material to write about."
Click here to read about feminine conversations overheard in the best New York nightclubs of 1937.
An interesting little excerpt from a much longer article revealed that the Windsors preferred gazing at their own newsreel footage for thirty minutes each night rather than gawk at the current movie offerings of the day:
"From their 16mm films of themselves, extra prints were made and rushed to England, where the Duke and Duchess of Kent and other friends and admirers of the exiled ex-king devoured them from time to time."
If you would like to read the longer article, click here.
Iles Brody, author of "Gone with the Windsors", was no fan of the Duke and Duchess of Windsor, but before he began to outline all their various faults in the attached essay, he first wanted to make one aspect of their history quite clear:
"The true story of the Duke and Duchess of Windsor cannot be told without clarifying one point right at the beginning: there was only one man who forced Edward VIII off the throne: himself. Yet millions have been led to believe that Prime Minister and Primate got together with the peers and, with the help of the British press, compelled the King to abandon his hereditary trust."
"The 'real' world into which the Duke has entered by his 'own' free will is international café society, that glittering, gilded bubble floating above the stormy seas of history...The Duke lives a rather different life. An hour or so with one of those American businessmen he admires, following tips on the market, looking over the quotations in stocks and bonds, and he has nothing to trouble about for the day, or the next month or so, until another empty hour obtrudes itself in the almost ceaseless round of pleasure like a hole in time waiting to be plugged by something, anything."
When this article about the media-savvy preacher Oral Roberts (1918 – 2009) hit the newsstands in 1955, his television program was less than a year old, and yet his name was already a household word in many corners of the United States. His sermons were heard every Sunday on a radio show that was broadcast by over two hundred outlets across the fruited plane and he lorded over a film production company that produced movies seen on almost 100 television stations. Indeed, Robert's ministry/corporation employed hundreds of people on its payroll, owned a Tulsa office building and a large swath of Oklahoma real estate and the thirty-seven year old preacher had even grander plans for the future.
The editors at CORONET recognized that Oral Roberts was not your average minister, who was simply contented to preside over thirty full pews every week; they labeled him a "businessman-preacher" and subtly pointed out that the man's detractors were many and his flashy attire unseemly for a member of clergy:
"God doesn't run a breadline...I make no apology for buying the best we can afford. The old idea that religious people should be poor is nonsense."
Starting in the 1940s, small articles like the one here began appearing in magazines and newspapers across the nation - snippets indicating that the American people (ie. whites) were slowly catching on to the system of racial injustice they had inherited - and wondering aloud as to the tyranny of it all:
"To 13 co-eds at Uppsala College, East Orange, N.J., democracy is something more than a worn text-book theory. It is a living, though thorny, reality. Shortly before school's end, they formed one of the nation's first interracial, interfaith college social sororities."
Another article about segregation's end can be read here.
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