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Katharine Hepburn from the Bryn Mawr College Yearbook 1928.

Katharine Hepburn from the Bryn Mawr College Yearbook 1928.

Alice Palache first met Hollywood actress Katharine Hepburn in 1924 when they were classmates at Bryn Mawr, an all-women’s liberal arts college near Philadelphia, Pennsylvania. The friends were a study in contrasts. “Palache,” as she was called, was popular, a great student, athletic, active in student council, and from a conventional home in which her dad, a Harvard professor and staunch Episcopalian, considered it sacrilegious for her to play with friends on Sunday. “Kath,” on the other hand, was a loner, one of the worst students in the class, and did whatever she pleased. She dressed as a boy, smoked scented cigarettes in her tower dorm room, and jumped into the cloister fountain – naked – to wake herself up after cramming all night for an exam.

This gallant good-time girl, her blazing red hair dragged back into a charwoman’s bun, wore baggy, unflattering cast-off clothes rumored to be held together with safety pins.”

Katharine Hepburn, age 21, performing in the dramatic production of "The Woman in the Moon," Bryn Mawr College, 1928

Katharine Hepburn, age 21, performing in the dramatic production of “The Woman in the Moon,” Bryn Mawr College, 1928

In their junior year, Kath invited Palache to visit her family home in Hartford, Connecticut. In between games of tennis, Kath and Palache spent time with Kath’s parents, Dr. Thomas Norval Hepburn and Mrs. Katharine (“Kate”) Houghton Hepburn. Both of Kath’s parents were highly-educated – Dad was a surgeon, Mom had 2 degrees from Bryn Mawr and was a prominent suffragette – and were militant public crusaders on the burning social issues of the day.

Dr. Thomas Hepburn and Katharine Houghton Hepburn, parents of Katharine Hepburn. Undated photo

Dr. Thomas Hepburn and Katharine Houghton Hepburn, parents of Katharine Hepburn. Undated photo

Katharine Hepburn's mother, Katharine Houghton Hepburn, was a prominent suffragette from Connecticut.

Katharine Hepburn’s mother, Katharine Houghton Hepburn, was a prominent suffragette from Connecticut. She is shown as “Mrs. Thomas N. Hepburn” in the photo at top center. Photo ca. 1925.

Dr. Hepburn’s dressing room was the center of the family home. Kath and Palache joined Dr. and Mrs. Hepburn there for  heated discussions. The family debated topics alien to Palache’s childhood home such as prostitution, venereal disease, and birth control. At times, Dr. Hepburn would be soaking in the tub during such discussions or, perhaps, shaving at the sink. The girls sat on a Queen Anne sofa in his dressing room as Dr. Hepburn would nonchalantly stride back and forth across the cork flooring wearing absolutely nothing.  Almost as shocking as the casual nudity – a naked man in his forties parading in front of his teenage daughter and her girlfriend – was Mrs. Hepburn’s attitude. When she would enter the room, she would hug and kiss her very naked husband, while declaring to the young women,

I find him beautiful,” while adding that the doctor “had no seat.”

Katharine Hepburn came from anything but a conventional home.

Katharine Hepburn, Bryn Mawr Class of 1928, is seen third from right in the dramatic production,"The Truth About Blayds," by A. A. Milne. At an all-girls college, Ms. Hepburn had the opportunity to play male as well as female roles.

Katharine Hepburn, Bryn Mawr Class of 1928, is seen third from right in the dramatic production,”The Truth About Blayds,” by A. A. Milne. At an all-girls college, Ms. Hepburn had the opportunity to play male as well as female roles.

Source: Leaming, Barbara. Katharine Hepburn. New York: Crown Publishers, Inc. 1995.

Source: Bryn Mawr College Archives Online

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Edith Head in an undated photo

Edith Head in a Paramount Pictures shot. Undated

It was summer vacation of 1924 and Edith Head, 27, wanted a new job. She was tired of making peanuts – $1500 a year – teaching French and art at the Hollywood School for Girls. She did have a husband but he was a heavy drinker. If Edith wanted to improve her quality of life, it was up to her to make it happen. However, there were few jobs open to women in the 1920s but secretarial work and teaching, and neither paid much.

One day, Edith spotted a classified ad in the Los Angeles Times. The Famous Players-Lasky Studio (later, Paramount Pictures) was looking for a sketch artist to create costumes for a new Cecil B. DeMille silent film, “The Golden Bed.” Edith wanted that job. One problem: Edith Head was no artist. She could not draw the human form.

She had exaggerated her qualifications to teach art when applying at the Hollywood School for Girls. True, she was highly educated, and was more than qualified to teach French – but not art. She had received a B.A. in Letters and Sciences with Honors in French at University of California at Berkeley (1919) and a Master’s Degree in Romance Languages at Stanford (1920) – pretty impressive for a girl who grew up in mining camps in the deserts of Mexico and Nevada. But she had no training in art. Once she had been hired at the girls’ school, she had swiftly enrolled in evening art classes at the Chouinard Art School to gain some artistic skill, learning just enough each night to keep one step ahead of the next day’s lesson for her students. So far, though, she could only draw seascapes.

Undaunted, Edith wrote the studio for an interview. She received a prompt reply, telling her to be at the studio the very next morning at 10 a.m., bringing sketches. Sketches? All she had to show of her own were seascapes.

Agnes Ayres stars in Cecil B. DeMille's 1921 film, "Forbidden Fruit." In silent films, costume was an extremely important element. DeMille's films were always lavish extravaganzas.

Agnes Ayres stars in Cecil B. DeMille’s 1921 film, “Forbidden Fruit” at Famous Players-Studio (later Paramount Pictures). In silent films, costume was an extremely important element. DeMille’s films were always lavish extravaganzas.

Edith did not know what to do but she knew that she wanted that job! Soon a light bulb went on in her brain:

That night I made the rounds at Chouinard (Art School) and collected all the students’ best landscapes, seascapes, oils, watercolors, sketches, life, art, everything.”

Some accounts say that Edith actually erased her friends’ names from their sketches and substituted her own. That next day, she appeared at the studio for her interview, a portfolio of other people’s work in hand. Howard Greer, head of the studio wardrobe department, described the interview in his memoirs:

…A young girl with a face like a pussy cat crossed with a Fujita drawing appeared with a carpetbag full of sketches. There were architectural drawings, plans for interior decoration, magazine illustrations, and fashion design. Struck dumb with admiration for anyone possessed of such diverse talent, I hired the gal on the spot.” (1)

Her salary was $40 a week, more than double what she made teaching.

The very next day, Edith reported for work. She sat at her drafting table, her canvas, blank. The jig was up. She couldn’t draw. Greer recalled:

[She] looked out from under her bangs with the expression of a frightened terrier.” (1)

Edith Head

Edith Head

Edith confessed that she had misrepresented her talent, taking credit for others’ work. Inexplicably, Greer did not fire Edith. Curiously, he took her under his wing and taught her how to sketch. Within six months, she sketched in his style and was quite accomplished. Later, when asked about misrepresenting her talent at the interview, she tossed off the fraud as “youthful and naïve indiscretion” and something she would never do again. (Two more lies!)

Whereas Edith dismissed the padding of her resume as an isolated incident, never to be repeated, designing colleague Natalie Visart did not see it that way. She commented:

Edith lied when the truth would have served her better.” (2)

Edith was to have few friends in life, among them, President Richard Nixon and wife Pat and actress Elizabeth Taylor. Biographer David Chierichetti said that

Her lies made her feel in control….Her lying – even more than her blazing ambition – was what turned people against her.”

Reportedly, director John Farrow would not let Edith work on his 1953 film, “Botany Bay,” as he had caught her in too many lies in the past.

But I digress.

Meanwhile, back to the summer of 1924, Edith was working at the bottom of the totem pole in the wardrobe design department.

My first big assignment was to do the Candy Ball costumes for Cecil B. de Mille’s film, “The Golden Bed.” I drew girls dressed as lollypops, peppermint sticks and chocolate drops….

Then came the crisis. I’d drawn very elongated girls with bodies like peppermint sticks and candy cane fingernails two feet long. Came the day of the shooting and, shortly after, came a blast from Mr. DeMille….The peppermint sticks had started cracking during the dance routine….whenever the dancers got within a half a foot of each other, the candy would stick.”

Also, under the hot lights on the set, the chocolate drops melted, and the production had to be halted. Edith went back to the drawing board and designed dresses studded with marshmallows for the peculiar film.

The "Candy Ball" scene from Cecil B. DeMille's 1924 film, "The Golden Bed." Men surround women wearing marshmallow dresses, pull off the sweets, and eat them.

The “Candy Ball” scene from Cecil B. DeMille’s 1924 film, “The Golden Bed.” Men surround women wearing marshmallow dresses, pull off the sweets, and eat them.

In another of Edith’s costume faux pas, Director Raoul Walsh had to stop production on “The Wanderer” (1925) when one of the show’s elephants began eating its costume – wreaths of flowers and grapes and anklets of rose petals.

As Greer had suspected, Edith did have a natural talent for costume design and, before long, it showed up. She began to score more hits than misses. She became a savvy politician. Although the studio maintained that the actresses were not allowed any say in what they wore in the films, Edith got around that rule. She began to talk with the stars, asking each actress what she liked to wear, what she thought she looked good wearing. Edith became known as “The Dress Doctor,” as she approached the design of each actress’s costumes with their tastes and figures in mind, how they moved, talked, and were photographed.

Costume designer Edith Head and film star Gloria Swanson. Undated photo

Costume designer Edith Head and film star Gloria Swanson. Undated photo

In this way, she developed a large and loyal following of actresses such as Barbara Stanwyck, Elizabeth Taylor, and Grace Kelly even though there were stars like Mary Martin, Hedy Lamarr, and Claudette Colbert who didn’t like to work with her.

Edith boasted that she was a magician. She took ordinary women, and, through fashion magic, transformed them into screen sirens.

Accentuate the positive and camouflage the rest,” Edith liked to say.

Edith designed costumes for almost a thousand movies including westerns, biblical epics, war movies, and dramas. Her style was not flashy but flattered the star and advanced the story line. Here are some of Edith Head’s costume designs:

mae west she done him wrong

Mae West in “She Done Him Wrong,” 1933. Costumes by Edith Head.

Dorothy Lamour wearing a new version of a sarong in "Jungle Princess," 1936. Costumes by Edith Head.

Dorothy Lamour wearing a new version of a sarong in “Jungle Princess,” 1936. Costumes by Edith Head.

 

Barbara Stanwyck and Henry Fonda in "The Lady Eve," 1941. Costumes by Edith Head.

Barbara Stanwyck and Henry Fonda in “The Lady Eve,” 1941. Costumes by Edith Head.

Veronica Lake in "I Married a Witch," 1942. Costumes by Edith Head.

Veronica Lake in “I Married a Witch,” 1942. Costumes by Edith Head.

Hedy Lamarr in "Samson and Delilah," 1949. Costumes by Edith Head.

Hedy Lamarr in “Samson and Delilah,” 1949. Costumes by Edith Head.

 

Gloria Swanson in "Sunset Boulevard," 1950. Costumes by Edith Head.

Gloria Swanson in “Sunset Boulevard,” 1950. Costumes by Edith Head.

Elizabeth Taylor in "A Place in the Sun," 1951. Costumes by Edith Head.

Elizabeth Taylor in “A Place in the Sun,” 1951. Costumes by Edith Head.

Audrey Hepburn in "Roman Holiday," 1954. Costumes by Edith Head.

Audrey Hepburn in “Roman Holiday,” 1954. Costumes by Edith Head.

Edith Head sketch for Grace Kelly suit in "Rear Window," 1954

Edith Head sketch for Grace Kelly suit in “Rear Window,” 1954

Grace Kelly in "Rear Window," 1954, wearing green suit shown in above sketch. Costumes by Edith Head.

Grace Kelly in “Rear Window,” 1954, wearing green suit shown in above sketch. Costumes by Edith Head.

Shown here with costar Jimmy Stewart, Grace Kelly wears the green suit shown in the sketch above, sans jacket. "Rear Window," 1954.  Costumes by Edith Head.

Shown here with costar Jimmy Stewart, Grace Kelly wears the green suit shown in the sketch above, sans jacket. “Rear Window,” 1954. Costumes by Edith Head.

Sketch for evening gown by Edith Head for Grace Kelly in "Rear Window," 1954.

Sketch for evening gown by Edith Head for Grace Kelly in “Rear Window,” 1954.

From sketch above, Grace Kelly wears an evening gown from "Rear Window," 1954. Costumes by Edith Head.

From sketch above, Grace Kelly wears an evening gown from “Rear Window,” 1954. Costumes by Edith Head.

Grace Kelly models sunsuit from "To Catch a Thief," 1955. Costume by Edith Head.

Grace Kelly models sunsuit from “To Catch a Thief,” 1955. Costume by Edith Head.

Grace Kelly in "To Catch a Thief," 1955. Costumes by Edith Head.

Grace Kelly in “To Catch a Thief,” 1955. Costumes by Edith Head.

Grace Kelly in "To Catch a Thief," 1955. Costumes by Edith Head.

Grace Kelly in “To Catch a Thief,” 1955. Costumes by Edith Head.

Edith Head sketch for gold masquerade gown for Grace Kelly in "To Catch a Thief," 1955.

Edith Head sketch for gold masquerade gown for Grace Kelly in “To Catch a Thief,” 1955.

As in sketch above, Grace Kelly wears masquerade gown in "To Catch a Thief," 1955. Costumes by Edith Head.

As in sketch above, Grace Kelly wears masquerade gown in “To Catch a Thief,” 1955. Costumes by Edith Head.

Anne Baxter in Cecil B. DeMille's 1956 remake of "The Ten Commandments." Costumes by Edith Head.

Anne Baxter in Cecil B. DeMille’s 1956 remake of “The Ten Commandments.” Costumes by Edith Head.

Edith Head was awarded eight Oscars and was nominated 35 times for best costume design.

Legendary costume designer Edith Head (1897-1981) displays her 8 Oscar trophies. Originally, she wore blue tinted glasses because it allowed her to view fabrics as they would look in a black-and-white movie. Smoky lenses also made her inscrutable as well as disguising a slightly-crossed right eye. Undated photo

Legendary costume designer Edith Head (1897-1981) displays her 8 Oscar trophies. Originally, she wore blue tinted glasses because it allowed her to view fabrics as they would look in a black-and-white movie. Smoky lenses also made her inscrutable as well as disguising a slightly-crossed right eye. Undated photo

Her brilliant career, that began with a con, was marred by controversy. Often economical with the truth, she sometimes claimed credit for designs that were not her own. She accepted the Oscar for “Sabrina”(1955) although two gowns and one suit wore by Audrey Hepburn – the Parisian look that dominates the movie – were truly designed by then rising French designer Hubert de Givenchy.

Audrey Hepburn wears three dresses from the movie, "Sabrina," 1954. Edith Head designed the "Cinderella" clothes that Audrey's character wears before she travels to Paris. Upon her return, she wears a wardrobe designed by Hubert de Givenchy. Edith Head accepted the Academy Award for Best Costume Design and took credit for De Givenchy's work.

Audrey Hepburn wears three dresses from the movie, “Sabrina,” 1954. Edith Head designed the “Cinderella” clothes that Audrey’s character wears before she travels to Paris. Upon her return, she wears a wardrobe designed by Hubert de Givenchy. Edith Head accepted the Academy Award for Best Costume Design and took credit for De Givenchy’s work.

Edith said the Oscar belonged to her because the costumes had been made in her department. In her acceptance speech, she did not thank de Givenchy. Worse still, when the little black dress became enormously popular, copied by the thousands by clothing manufacturers, Edith made sketches of it for books and appearances and signed them with her name. (3) Only after Edith’s death did Givenchy, a true gentleman, confirm that the black cocktail dress with the bateau neckline and ballerina skirt was his original design, and had been made under Edith’s supervision at Paramount.The Sting movie poster

In 1974, Edith Head was awarded her eighth and final Oscar for her work in “The Sting,” starring Robert Redford and Paul Newman. In her trademark bangs, bun, and tinted owl glasses, Edith flitted happily onto the stage, trilling:

“Just imagine dressing the two handsomest men in the world, and then getting this!” she said, holding out her award.

Robert Redford and Paul Newman play ping pong. Undated photo.

Robert Redford and Paul Newman play ping pong. Undated photo.

She was promptly sued by a costume illustrator who said the work on “The Sting” was hers, not Edith’s. Famous designer Bob Mackie, Cher‘s favorite, who had also worked in the Paramount costume department, said of Edith:

She got more press out of The Sting than anything she ever did and she didn’t even do it.” (4)

(1) Greer, Howard. Designing Male: A Nebraska Farm Boy’s Adventures in Hollywood and with the International Set. G.P. Putnam’s Sons, 1951.

(2) Chierichetti, David. Edith Head: The Life and Times of Hollywood’s Celebrated Costume Designer. New York: HarperCollins Publishers, 2003.

(3) Head, Edith. The Dress Doctor. Boston: Little, Brown, 1959.

(4) Jorgensen, Jay. Edith Head: The Fifty Year Career of Hollywood’s Greatest Costume Designer. New York: Lifetime Media, 2010.

Readers, for more on Edith Head and her costume design, click here.

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Richard Taylor and Elizabeth Burton. Undated photo

Richard Taylor and Elizabeth Burton. Undated photo

On July 4, 1973, American film actress Elizabeth Taylor (1932-2011) issued the following press release:

“I am convinced it would be a good and constructive idea if Richard [Burton] and I separated for a while. Maybe we loved each other too much. I never believed such a thing was possible. But we have been in each other’s pockets constantly, never being apart but for matters of life and death, and I believe it has caused a temporary breakdown of communication.

I believe with all my heart that the separation will ultimately bring us back to where we should be – and that’s together. I think in a few days’ time I shall return to California, because my mother is there, and I have old and true friends there, too.” (1)

Leaving Richard at the Long Island estate of his lawyer Aaron Frosch, Elizabeth checked out of her room at the Regency Hotel, Park Avenue, New York and flew to Los Angeles. She had to put distance between herself and Richard’s endless drinking, their endless quarreling. She hid from the paparazzi at the Hollywood home of her old and dear friend, Edith Head, the legendary fashion designer for Paramount Pictures. Upon Elizabeth’s arrival, “Edie” got out the bottle of Jack Daniels  for the two of them to share.

Elizabeth considered Edith to be like a second mother to her. Edith returned the affection. In her Spanish-style home in Coldwater Canyon that she shared with her husband Bill, she had placed a plaque at the bottom of the stairwell that read,

ELIZABETH TAYLOR SLEEPS HERE

 

Edith Head designed costumes at Paramount Pictures for 43 years. (1952)

Edith Head designed costumes at Paramount Pictures for 43 years. (1952)

Edith Head (1897-1981) had won one of her eight Oscars for best costume design for “A Place in the Sun” (1951) in which Elizabeth played socialite Angela Vickers. Taylor’s costumes were so beautiful in that film that they set fashion trends for prom and ball gowns that year. (2)

One evening gown, in particular, was a huge sensation and remains an iconic dress today. It was strapless, to show off Elizabeth’s gorgeous shoulders, which Edith considered one of her best assets, with a sweetheart neckline that showed just a trace of virginal décolletage.

An Edith Head sketch of Elizabeth Taylor's white tulle gown in "A Place in the Sun." (1952)

An Edith Head sketch of Elizabeth Taylor’s white tulle gown in “A Place in the Sun.” (1952)

The bodice was highlighted by clusters of tiny fabric violets. Below the nipped in waist, a full skirt erupted in countless yards of white tulle studded with white velvet violets. It was a flattering silhouette for Elizabeth who Edith considered “one of the prettiest human beings I’ve ever seen.”

Elizabeth Taylor and Montgomery Clift in "A Place in the Sun." (1952)

Elizabeth Taylor and Montgomery Clift in “A Place in the Sun.” (1952)

Eighteen years later, Elizabeth wore another of Edith’s designs to the 1970 Academy Awards, at which she presented the Best Picture Award to “Midnight Cowboy.” It was a chiffon dress – in violet, to match Elizabeth’s famous violet eyes – with a plunging V-neckline. Nestled in Elizabeth’s tanned cleavage was the famous 69-carat, pear-shaped Taylor-Burton diamond, a diamond as big as the Ritz that cost well over a million dollars. It was one of many outstanding pieces in the Elizabeth Taylor Jewelry Collection.

Richard Burton and Elizabeth Taylor arrive at the 1970 Academy Awards. Burton was nominated for Best Actor in "Anne of a Thousand Days" but did not win.

Richard Burton and Elizabeth Taylor arrive at the 1970 Academy Awards. Burton was nominated for Best Actor in “Anne of a Thousand Days” but did not win.

Elizabeth had a love affair with jewelry. She had long admired one piece that Edith Head often wore, a gold and ivory necklace made up of Victorian opera tokens.

Edith Head with sketch

Film costume designer Edith Head wearing her Victorian opera token necklace.

The Edith Head Necklace

The Edith Head Necklace

In 1981, Edith passed away, leaving her necklace to Elizabeth in her will.

E Taylor and e Head necklace

Elizabeth Taylor wears a Victorian opera token necklace of ivory and gold, a gift from her friend Edith Head. Undated photo

I had the opportunity to see the Edith Head Necklace in 2011 at the Christie’s auction of Elizabeth Taylor’s jewelry collection in New York. It was my favorite piece of all of Elizabeth’s jewelry. The necklace was estimated to sell at between $1,500 and $2,000, but it sold for $314,500!

(1) Kashner, Sam and Schoenberger, Nancy. Furious Love: Elizabeth Taylor, Richard Burton, and the Marriage of the Century. New York: HarperCollins Publishers, 2010.

(2) Jorgensen, Jay. Edith Head: The Fifty Year Career of Hollywood’s Greatest Costume Designer. New York: Lifetime Media, 2010.

Readers: For more on Elizabeth Taylor, click here. For more on Edith Head, click here.

 

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Lady Diana Spencer reads a romance novel by her favourite author, Barbara Cartland. Diana is probably 16. Photo ca. 1977

Lady Diana Spencer reads a romance novel by her favorite author, Barbara Cartland. Diana is probably 16 years old. Photo ca. 1977

Princess Diana (1961-1977) loved to read romantic fiction. She devoured novels by British author Barbara Cartland, of which there was an endless and steady supply. In her lifetime, Cartland (1901-2000) is credited with having written 723 books. In 1983 alone, she wrote 23 of them. She holds The Guinness Book of World Records for writing the most books in a single year.

Reclining on a chaise lounge at her home, Cartland dictated her hundreds of stories to her secretary. They both wore pink. Pink was Cartland’s signature color.

British romance novelist Barbara Cartland dictates stories to her secretary while relaxing with one of her Pekinese pets.

British romance novelist Barbara Cartland dictates stories to her secretary Jean Smith while relaxing at home in Camfield Place in Essendon, U.K.

Barbara Cartland

Barbara Cartland

Cartland, self-styled as the “Queen of Romance,” was a celebrity favorite with journalists as she was always holding forth on topics of the day, and sometimes saying outrageous and unprintable things such as speculating on the private parts of the exiled Duke and Duchess of Windsor.

She was well-known for her flamboyant appearance, resembling a fairy queen with cotton candy hair. Her dresses were ultra-girly, adorned with feathers, frills, flounces, fluff, and froth. She was heavily perfumed and glittered with jewels. Her thick make-up was more suited to the stage, and the end result was often clown-like. To achieve a more youthful look, she pulled back her cheeks with the application of sticking plaster (which, sadly, often showed). Her “forests of false eyelashes” were legendary, jet black, and preposterous. Her secret? In 1959, she wrote to a fan that, instead of mascara:

I use Meltonian black shoe cream for my eyelashes.” (1)

Barbara Cartland up close and personal

Barbara Cartland up close

In her writing as well as her appearance, Cartland was an accomplished illusionist. Her books were fairy tales of the most fantastic nature. In them, the young virgin heroine – usually with an exotic name like Vada, Lalitha, Syringa, Fenella, Kamala, or Anthea – always marries Prince Charming. They live happily ever after. They never quarrel, they don’t have affairs, and they certainly don’t divorce.

More than one of Diana's Spencer's acquaintances remarked on her dreamy nature. Photo ca. 1977

More than one of Diana’s Spencer’s acquaintances remarked on her dreamy nature. Photo ca. 1977

Not so in the Spencer household. From her earliest years, Princess Diana’s parents had had a troubled marriage, and her home was a scene of violent quarrels. Diana’s mother, Frances, felt as if her husband Johnnie Spencer, Viscount Spencer, treated her like a brood mare, sending her to fertility experts to explain why she had given birth to three girls in a row. He wanted a male heir to carry on the royal family line. Diana listened behind the door when her parents had a shouting match and her sister turned up the record player volume.

Frances did give birth to a boy, Charles, but the breach in the marriage had become, by then, an unbridgeable chasm.

When Diana was six, her mother left her four children and husband to pursue an affair in London with Peter Shand Kydd, also married. In 1968, she divorced Diana’s father, Johnnie Spencer, who, surprisingly for the times, was granted custody of the children. It is not surprising once you know that a surprise witness at the divorce hearing provided the damning testimony that decided in his favor. Testifying to Johnnie’s superior parenting skills was Frances’s own mother, Lady Fermoy, testifying against her daughter.

Three months after the divorce, Frances married Kydd and they moved to Scotland. With her two older sisters away at boarding school, only Diana and her younger brother Charles remained behind at Park House on the Queen’s royal Sandringham estate. Her father holed up, silently, in his study, abandoned.

The spirit of gaiety was gone from Park House along with Frances’s furniture.” (2)

A Hazard of Hearts (1948) by Barbara Cartland

A Hazard of Hearts (1948) by Barbara Cartland

Cartland’s novels provided young Diana Spencer with an escape into a fantasy dream world. Diana came to believe in the magical rescue power of princes, waiting for her prince to ride up and take her away to her own happy ending. Her life view was shaped by this unreality and it would pitch her into a cold marriage to a man whose heart already belonged to another.

No fairy tale is complete without a wicked stepmother, and, in July, 1976, Diana got one. Her name was Raine, Countess Dartmouth. By this time, the Spencers had moved into the family’s stately home of Althorp, as Diana’s grandfather had died, passing the earldom on to Johnnie. He became the 8th Earl Spencer and Diana became Lady Diana. Raine began an extensive remodeling of Althorp, proving unpopular with Diana and her siblings, who hated their new (wicked) stepmother, calling her “Acid Raine.” Johnnie, however, became very happy after his marriage to Raine.

Princess Diana, at right, stands with stepmother, Raine, Countess Spencer, middle, and a friend. Undated photo, ca. 1977

Princess Diana, at right, stands with stepmother, Raine, Countess Spencer, middle, and a friend. Undated photo, ca. 1977

Now that you have seen this photo of Raine (above), you will not find it hard to believe that her mother was Barbara Cartland, Diana’s favorite novelist! That made Cartland Diana’s stepgrandmother. She learned of Diana’s love for her books and sent them to Diana by the cartload.

In 1977, Diana moved into Coleherne Court in South Kensington, London. Her roommates remember that she always got up before the meal was finished to clear the table. She hated dirty dishes. Diana loved to do the washing and ironing of shirts for friends. Her big sister Sarah paid her to clean her apartment. Diana was Cinderella, sweeping the hearth free of ashes.

Diana first revealed her crush on Prince Charles when on a ski holiday with friends in Val Claret in the French Alps. She surprised her friends one evening, saying that she was going to marry Charles AKA Prince Charming. According to those who knew her well, Diana kept herself chaste for her husband on their wedding night. (3)

Oxford student Adam Russell sits with Lady Diana Spencer. They are vacationing with a group in the French Alps. Russell is said to have had a ‘galumphing’ crush on Diana. Nothing, however, happened between them. According to royal author Andrew Morton, Mr Russell went travelling for a year, and when he returned to the UK in 1980 and told a friend that he liked Diana, he was told: ‘You’ve only got one rival, the Prince of Wales’.  Read more: http://www.dailymail.co.uk/news/article-2257321/Revealed-Mystery-rival-Prince-Charles-pictured-relaxing-Lady-Diana-1979-Old-Etonian-aristocrat-Adam-

Oxford student Adam Russell sits with Lady Diana Spencer. They are vacationing with a group in the French Alps. Russell is said to have had a ‘galumphing’ crush on Diana. Nothing, however, happened between them. According to royal author Andrew Morton, Mr Russell went travelling for a year, and when he returned to the UK in 1980 and told a friend that he liked Diana, he was told: ‘You’ve only got one rival, the Prince of Wales’. Source: The Daily Mail

And Lady Diana did indeed marry Prince Charles on July 29, 1981. Her fairy tale unfolded as she had imagined. Her father gave her away. She wore a confection of a dress with a 25 foot-long train. She rode to St. Paul’s Cathedral in a carriage. She became Her Royal Highness, Diana, Princess of Wales. When Charles became King one day, she would become his queen, and their son, a king, too.

Prince Charles and Princess Diana smile for their wedding photo. July 1981

Prince Charles and Princess Diana smile for their wedding photo. July 1981

As we all know, Diana’s life with Charles did not have a happy ending. Her marriage was miserable, ending in a nasty divorce (1996) which led to her disastrous loneliness and tragic death (1997). Diana’s story was a fractured fairy tale of the worst imaginable kind.

By the way, stepmother Raine attended the royal wedding. However, stepgrandmother Barbara Cartland – the fairy queen who nurtured this fairy tale of Diana’s – did not attend.  Someone – maybe the Queen’s sister, Princess Margaret – considered her an embarrassment and did not want her there. We don’t know if she wasn’t invited OR was offered an invitation but declined because her seat was behind a column! Anyway, not being present at Diana’s wedding proved to be the biggest humiliation of Barbara Cartland’s life.

In 1993, Barbara Cartland remarked:

The only books Diana ever read were mine, and they weren’t terribly good for her.” (2)

In 1996, Cartland had figured out why the marriage had failed:

Of course, you know where it all went wrong. She wouldn’t do oral sex.”

Hell hath no fury like a woman scorned….

For more about Princess Diana, click here.

(1)

(2) Brown, Tina. The Diana Chronicles. New York: Doubleday, 2007.

(3)

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Maya Angelou (Undated photo)

Maya Angelou (Undated photo)

American writer Maya Angelou (1928-2014) had deep political ties with the Clintons. In 1993, she read her poem, “Pulse of the Morning” at Bill Clinton’s inauguration. Both she and Bill were from Arkansas. In 2008, she supported Hillary Clinton in the Democratic primary race for the U.S. presidency against Barack Obama, a fellow African-American. It was a tough decision.

Maya Angelou campaigns for Democratic Presidential Candidate Hillary Clinton prior to the crucial Pennsylvania Primary, 2008. Even though Ms. Angelou walks with a cane, you can see that she is a towering figure at 6 feet tall.

Maya Angelou campaigns for Democratic Presidential Candidate Hillary Clinton prior to the crucial Pennsylvania Primary, 2008. Even though Ms. Angelou walks with a cane, you can see that she is a towering figure at 6 feet tall.

However, when Hillary dropped out of the race, Maya swiftly endorsed Barack Obama.

When she was asked to introduce Michelle Obama at a rally in North Carolina, she consulted her good friend TV hostess Obama Winfrey:

I knew she had socialized with them. I asked her, ‘What is Mrs. Obama like? What should I expect?’

Oprah said simply and without hesitation, ‘She’s the real deal.'”

The Obamas and Maya Angelou grew very close. She referred to Michelle Obama as one of her “she-roes.”

When she was interviewed followed Obama’s November ’08 victory, Maya was asked by the BBC World Service for her reaction:

My reaction can be described as thrilled – I am thrilling – but in the classic sense of the word. It used to mean having a physical reaction, you know – BRRRR!!!! – like that! (giggle) – where the whole body responds. Well, this is happening. Even my hair is happy!”

When Maya Angelou died this past Wednesday, President Obama called her a “fierce friend.” Obama’s sister, Maya Soetoro-Ng, was named after Angelou.

Maya Angelou receives a Medal of Freedom from President Obama at the White House in Washington in this February 15, 2011 file photo. U.S. author and poet Maya Angelou has died at age 86 in North Carolina.. REUTERS/Larry Downing/Files

Maya Angelou receives a Medal of Freedom from President Obama at the White House in Washington in this February 15, 2011 file photo. REUTERS/Larry Downing/Files

 

First Lady Michelle Obama and Maya Angelou on stage at BET Honors 2012 at the Warner Theatre on January 14, 2012 in Washington, DC. Photo from Amanda Wills at Mashable

For more on Maya Angelou, click here.

 

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Back in the 1950s, writer Maya Angelou was singing and dancing her way across Europe and America to appear in clubs, movies, and plays.

African-American writer Maya Angelou died this week at age 86. Starting Friday, May 31, 2014, the Schomburg Center for Research in Black Culture in Harlem, New York City, will showcase a collection of her papers, manuscripts and letters. Maya Angelou is no stranger to the Schomburg Center. In 1991, the Schomburg expanded to include a new addition and Ms. Angelou was a guest at the opening.

The Schomburg Center, Harlem, New York.

The Schomburg Center, Harlem, New York.

The 1991 expansion of the Schomburg Center was the Langston Hughes Building. The structure is named after African-American poet Langston Hughes, the leader of the Harlem Renaissance. Maya Angelou met him in California once when he came to hear her sing.

Poets Maya Angelou and Langston Hughes hang out. Undated, prob. ca. 1960s.

Poets Maya Angelou and Langston Hughes hang out. Undated, prob. ca. 1960s.

The Langston Hughes Building contains an auditorium that seats 340 guests. Although impressive, the auditorium is of no interest to us here. It is the lobby that draws our attention.

The lobby is spacious, elegant, and flooded with natural light streaming through its many tall windows. The windows look out onto a garden but the real conversation piece is the floor. Embedded in the terrazzo tile  is a design honoring the poetry of Langston Hughes. “Rivers” was inspired by Hughes’ well-known poem, ” A Negro Speaks of Rivers.” This type of design is called a cosmogram, as it treats mystical themes of nature and the meaning of life. Blue rivers snake through rust-colored clay, evoking the Earth.

The Langston Hughes Building lobby at the Schomburg Center, New York City

The Langston Hughes Building lobby at the Schomburg Center, New York City

The design is pleasing, with its tribal symbols and poetic quotes. Looking closer even, we see that there is a fish shape in the middle. Inside the fish is a quote from the poem.

A quote from "A Negro Speaks of Rivers," by Langston Hughes appears in the cosmogram in the Langston Hughes Building Lobby.

A quote from “A Negro Speaks of Rivers,” by Langston Hughes appears in the cosmogram in the Langston Hughes Building Lobby.

If we had superpowers and could see through the tile of the fish and underneath the floor, we would discover that there is something buried there. It is a vessel, made of metal, and, fittingly, we think later, shaped like a book. It is sealed. If we were to open it, which we won’t (and can’t), we would discover that it contains the cremated ashes of Langston Hughes himself. So the cosmogram, besides being beautiful, is useful. It is a tomb.

So, at the 1991 opening of the Langston Hughes Building, guests filled up the lobby and turned it into a dance floor. Someone cranked up the music and everyone boogied down. And this is how Maya Angelou and others ended up doing the proverbial dance on a friend’s grave.

The Schomburg Center for Research in Black Culture in Harlem observed the 89th birthday of the poet Langston Hughes and the beginning of Black History Month on Thursday night.  Mr. Hughes's ashes were buried beneath the floor of the auditorium, and in an African Custom of ancestral return, the  writers Amiri Baraka and Maya Angelou danced atop them. Published NYT Metro, Saturday, Feb. 22, 1991 CREDIT:  Chester Higgins, Jr/The New York Times

In February 1991, the Schomburg Center for Research in Black Culture in Harlem observed the 89th birthday of the poet Langston Hughes and the beginning of Black History Month. Mr. Hughes’s ashes are buried beneath the floor of the auditorium, and in an African Custom of ancestral return, the writers Amiri Baraka and Maya Angelou danced atop them.
Published NYT Metro, Saturday, Feb. 22, 1991
CREDIT: Chester Higgins, Jr/The New York Times

 

For more on Maya Angelou, click here.

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Shirley Temple with her mother Gertrude

Shirley Temple with her mother Gertrude

In the 1930s, American child actress Shirley Temple (1928-2014) was a megastar. Everything she did became big news. In October 1936

“the world gasped as a bulletin flashed over the Reuters wire: ‘Shirley Temple has been sent to bed with a slight fever resulting from a cold.'” (1)

It should come as no surprise that her mother, Gertrude Temple, was the architect of Shirley’s phenomenal success. From birth, Shirley was a treasured child. Her mother had longed for a daughter but had, by 1927, produced only sons. Her husband, on the advice of his doctor, submitted to having his tonsils removed, heeding the old wives’ tale that it would increase his chances of fathering a girl. It did; Shirley was born ten months later, on April 23, 1928.

When Shirley was three, Gertrude enrolled her in dancing, acting, and singing lessons at Ethel Meglin’s Dance Studio in Los Angeles. Her big break into movies came in November 1931 when casting director Charles Lamont paid a visit to the studio and spotted adorable Shirley with her Mary Pickford-like curls. Lamont cast her in a series of one-reel short films called “Baby Burlesks” to be produced by the Educational Films Corporation. The films featured toddlers spouting mature adult lines while dressed in diapers from the waist down and adult clothes from the waist up.

Shirley Temple (third from right) and her fellow castmates from Baby Burlesks in an ad for Baby Ruth candy bars, a stipulation in her contract with Educational Films Corporation. 1933/34

Shirley Temple (third from right) and her fellow castmates from Baby Burlesks in an ad for Baby Ruth candy bars, a stipulation in her contract with Educational Films Corporation. 1933/34

Shirley was to be paid $10 a day  – on shooting days, that is. Weeks of rehearsals were unpaid. Gertrude was paid $5 on shooting days to act as Shirley’s manager (and hairdresser).

When it was Shirley’s cue to perform, Gertrude whispered in her ear, “Sparkle, Shirley, Sparkle!” and she did. Gertrude taught her to round her little mouth in surprise, to cock her head sideways, knowingly, and to arch her tiny eyebrows – signature Shirley Temple moves.

Gertrude let nothing stand in the way of Shirley’s future. In January 1931, filming had begun on the very first of the “Baby Burlesks” films called “Runt Page” when Shirley fell ill with a cold (no doubt from overwork in rehearsals at age 3) that developed into a severe ear infection. Gertrude took her to the hospital to have Shirley’s eardrum lanced and stayed up with her all night.  Gertrude asked the producer for a rest for Shirley but he said they were to be at the studio the next morning or Shirley would be replaced. To coax Gertrude further, he promised her that if Shirley did well in “Runt Page,” he would cast her as the star in the series. That next day, Shirley spent twelve hours in the studio. (2)

Shirley Temple (r.) in her first film, "Runt Page," 1933

Shirley Temple (r.) in her first film, “Runt Page,” 1933

Even if the actors were running around in diapers, the set of “Baby Burlesks” hardly resembled a nursery. If the children didn’t behave according to Charles Lamont’s wishes, he

kept a soundproof black box, six feet on each side, containing a block of ice. An offending child was locked within this dark, cramped interior and either stood uncomfortably in the cold, humid air, or had to sit on the ice. Those who told their parents about this torture were threatened with further punishment. (2)”

When Shirley told her mother about the black box, her mother dismissed the story as a “fanciful tale.” (2)

Here is Shirley Temple starring in “War Babies,” one of the Baby Burlesks film shorts.

(1) The Telegraph obituary of Shirley Temple Black

(2) Kasson, John F. The Little Girl Who Fought the Great Depression: Shirley Temple and 1930s …New York: W.W. Norton and Company, Inc., 2014.

 

 

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