Podcasts about Auntie Mame

“My life was a bit like the plot of Auntie Mame,” says this actor, writer, and drag legend. He's got stories about Linda Lavin, Christopher Isherwood, Lily Tomlin, Angela Landsbury, Vivien Leigh, Marlene Dietrich. Plus, he sings. Accompanist: Jono Mainelli. Produced with 54 Below.

In Love You Madly, Holly Woodlawn (Feral House, 2025), Jeff Copeland brings readers into Hollywood in the 1980s and shares his story of writing a book about one of the most infamous of Warhol's Superstars. A young, aspiring writer desperate for a break...and the legendary Andy Warhol superstar who gave him the story of a lifetime. By the mid-1980s, Holly Woodlawn, once lauded by George Cukor for her performance in the 1970 Warhol production and Paul Morrissey directed Trash, was washed up. Over. Kaput. She was living in a squalid Hollywood apartment with her dog and bottles of Chardonnay.  A chance meeting with starry-eyed corn-fed Missouri-born Jeff Copeland, who moved to Hollywood with dreams of 'making it' as a television writer, changed the course of BOTH of their lives forever. Love You Madly, Holly Woodlawn is a story of how an unlikely friendship with a young gay writer and an, ahem, mature trans actress and performer created the bestselling autobiography of 1991, A Low Life in High Heels. This book about writing a book is a celebration of chutzpa and love as Holly, the embodiment of Auntie Mame, introduces Jeff to the glamorous (and sometimes larcenous) world of a Warhol Superstar. In turn, Jeff uses his writing (and typing) talent to give Holly the second chance at fame she craved. In turns hilarious and heartwarming, Love You Madly, Holly Woodlawn is a portrait of the real Holly who loved deeply, laughed loudly, and left mayhem in her wake. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Love You Madly, Holly Woodlawn (Feral House, 2025), Jeff Copeland brings readers into Hollywood in the 1980s and shares his story of writing a book about one of the most infamous of Warhol's Superstars. A young, aspiring writer desperate for a break...and the legendary Andy Warhol superstar who gave him the story of a lifetime. By the mid-1980s, Holly Woodlawn, once lauded by George Cukor for her performance in the 1970 Warhol production and Paul Morrissey directed Trash, was washed up. Over. Kaput. She was living in a squalid Hollywood apartment with her dog and bottles of Chardonnay.  A chance meeting with starry-eyed corn-fed Missouri-born Jeff Copeland, who moved to Hollywood with dreams of 'making it' as a television writer, changed the course of BOTH of their lives forever. Love You Madly, Holly Woodlawn is a story of how an unlikely friendship with a young gay writer and an, ahem, mature trans actress and performer created the bestselling autobiography of 1991, A Low Life in High Heels. This book about writing a book is a celebration of chutzpa and love as Holly, the embodiment of Auntie Mame, introduces Jeff to the glamorous (and sometimes larcenous) world of a Warhol Superstar. In turn, Jeff uses his writing (and typing) talent to give Holly the second chance at fame she craved. In turns hilarious and heartwarming, Love You Madly, Holly Woodlawn is a portrait of the real Holly who loved deeply, laughed loudly, and left mayhem in her wake. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In Love You Madly, Holly Woodlawn (Feral House, 2025), Jeff Copeland brings readers into Hollywood in the 1980s and shares his story of writing a book about one of the most infamous of Warhol's Superstars. A young, aspiring writer desperate for a break...and the legendary Andy Warhol superstar who gave him the story of a lifetime. By the mid-1980s, Holly Woodlawn, once lauded by George Cukor for her performance in the 1970 Warhol production and Paul Morrissey directed Trash, was washed up. Over. Kaput. She was living in a squalid Hollywood apartment with her dog and bottles of Chardonnay.  A chance meeting with starry-eyed corn-fed Missouri-born Jeff Copeland, who moved to Hollywood with dreams of 'making it' as a television writer, changed the course of BOTH of their lives forever. Love You Madly, Holly Woodlawn is a story of how an unlikely friendship with a young gay writer and an, ahem, mature trans actress and performer created the bestselling autobiography of 1991, A Low Life in High Heels. This book about writing a book is a celebration of chutzpa and love as Holly, the embodiment of Auntie Mame, introduces Jeff to the glamorous (and sometimes larcenous) world of a Warhol Superstar. In turn, Jeff uses his writing (and typing) talent to give Holly the second chance at fame she craved. In turns hilarious and heartwarming, Love You Madly, Holly Woodlawn is a portrait of the real Holly who loved deeply, laughed loudly, and left mayhem in her wake. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Love You Madly, Holly Woodlawn (Feral House, 2025), Jeff Copeland brings readers into Hollywood in the 1980s and shares his story of writing a book about one of the most infamous of Warhol's Superstars. A young, aspiring writer desperate for a break...and the legendary Andy Warhol superstar who gave him the story of a lifetime. By the mid-1980s, Holly Woodlawn, once lauded by George Cukor for her performance in the 1970 Warhol production and Paul Morrissey directed Trash, was washed up. Over. Kaput. She was living in a squalid Hollywood apartment with her dog and bottles of Chardonnay.  A chance meeting with starry-eyed corn-fed Missouri-born Jeff Copeland, who moved to Hollywood with dreams of 'making it' as a television writer, changed the course of BOTH of their lives forever. Love You Madly, Holly Woodlawn is a story of how an unlikely friendship with a young gay writer and an, ahem, mature trans actress and performer created the bestselling autobiography of 1991, A Low Life in High Heels. This book about writing a book is a celebration of chutzpa and love as Holly, the embodiment of Auntie Mame, introduces Jeff to the glamorous (and sometimes larcenous) world of a Warhol Superstar. In turn, Jeff uses his writing (and typing) talent to give Holly the second chance at fame she craved. In turns hilarious and heartwarming, Love You Madly, Holly Woodlawn is a portrait of the real Holly who loved deeply, laughed loudly, and left mayhem in her wake. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

In Love You Madly, Holly Woodlawn (Feral House, 2025), Jeff Copeland brings readers into Hollywood in the 1980s and shares his story of writing a book about one of the most infamous of Warhol's Superstars. A young, aspiring writer desperate for a break...and the legendary Andy Warhol superstar who gave him the story of a lifetime. By the mid-1980s, Holly Woodlawn, once lauded by George Cukor for her performance in the 1970 Warhol production and Paul Morrissey directed Trash, was washed up. Over. Kaput. She was living in a squalid Hollywood apartment with her dog and bottles of Chardonnay.  A chance meeting with starry-eyed corn-fed Missouri-born Jeff Copeland, who moved to Hollywood with dreams of 'making it' as a television writer, changed the course of BOTH of their lives forever. Love You Madly, Holly Woodlawn is a story of how an unlikely friendship with a young gay writer and an, ahem, mature trans actress and performer created the bestselling autobiography of 1991, A Low Life in High Heels. This book about writing a book is a celebration of chutzpa and love as Holly, the embodiment of Auntie Mame, introduces Jeff to the glamorous (and sometimes larcenous) world of a Warhol Superstar. In turn, Jeff uses his writing (and typing) talent to give Holly the second chance at fame she craved. In turns hilarious and heartwarming, Love You Madly, Holly Woodlawn is a portrait of the real Holly who loved deeply, laughed loudly, and left mayhem in her wake. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Tyler discusses and reviews the Best picture winner Gigi as well as the best pic nominees, Auntie Mame, Seperate Tables, The Defiant Ones and Cat on a Hot Tin Roof

EPISODE 66 - “WHEN CLASSIC FILM'S SUPPORTING ACTORS STEAL THE SHOW” - 12/16/2024 There is nothing quite like watching a film when suddenly a supporting character comes in and walks away with the film. (Think THELMA RITTER, S.Z. SAKALL, or GALE SONDERGAARD in almost every one of their films!) This week we are focusing on some of our favorite supporting charters who come in and snatch that scene right about from under the big stars. From JOANNA BARNES' Gloria Upson declaring, “It was just ghastly!” in “Auntie Mame” to the impassioned monologue about love that BEAH RICHARDS delivers to SPENCER TRACY in “Guess Who's Coming To Dinner,” we take a fun look at these powerful performances that we're still talking about today. SHOW NOTES:  Sources: The Life and Death of Peter Sellers (1997) by Roger Lewis; But Darling, I'm Your Auntie Mame!: The Amazing History of the World's Favorite Madcap Aunt (1998), by Richard Tyler Jordan; Tennessee Williams & Company: His Essential Screen Actors (2010), by John DiLeo; “Judy Holiday, Winner of Oscar, Does of Cancer,” June 8, 1965, Los Angeles Times; “Mildred Natwick, 89, Actress Who Excelled at Eccentricity,” October 26, 1994, by Peter B. Flint, New York Times; “Steve Franken, Actor in ‘Dobie Gillis,' Dies at 80,” August 29, 2012, by Daniel E. Slotnik, New York Times;  “Madeleine Sherwood, 93, Actress on Stage, Film and ‘Flying Nun,' Dies,” April 26, 2016, by Sam Roberts, New York Times; “The Making of ‘TheParty',” January 13, 2017, by FilMagicians, Youtube.com; “Beah Richards, 80, Actress in Stalwart Roles,” September 16, 2000, by Mel Gussow, New York Times; “Joanna Barnes, Actress in ‘The Parent Trap' and its Sequel. Dies at 87,” May 12, 2022, by Richard Sanomir, New York Times; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Roger Ebert.com; Movies Mentioned:  Adams's Rib (1949), starring Katharine Hepburn, Spencer Tracy, Judy Holiday, David Wayne, Hope Emerson, Jean Hagen, and Tom Ewell; Born Yesterday (1950), starring Judy Holiday, Broderick Crawford, & William Holden; Auntie Mame (1958), starring Rosalind Russell, Forrest Tucker, Fred Clark, Roger Smith, Jan Handzlik, Corale Brown, Pippa Scott, Lee Patrick, Willard Waterman, Joanna Barnes, Connie Gilchrist, Patric Knowles, and Yuki Shimudo;  Cat On A Hot Tin Roof (1958), starring Elizabeth Taylor, Paul Newman, Burl Ives, Judith Anderson, Jack Carson, and Madeleine Sherwood; Spartacus (1960), starring Kirk Douglas, Laurence Olivier, Jean Simmons, Charles Laughton, Tony Curtis, & Joanna Barnes; The Parent Trap (1961), starring Haley Mills, Maureen O'Hara, Brian Keith, Joanna Barnes, Charles Ruggles, Ana Merkel, Leo G. Carroll, & Cathleen Nesbitt; The Americanization of Emily (1963), starring Julie Andrews & James Garner; The Time Traveler (1964), starring Preston Foster; Goodbye Charlie (1964), starring Tony Curtis, Debbie Reynolds, Ellen Burstyn, Pat Boone, & Joanna Barnes; Barefoot In The Park (1967), starring Jane Fonda, Robert Redford, Mildred Natwick, Charles Boyer, Herb Edelman, and Mabel Albertson; Don't Make Waves (1967) starring Tony Curtis, Claudia Cardinale, Sharon Tate, and Joanna Barnes; Guess Who's Coming To Dinner (1967), starring Katharine Hepburn, Spencer Tracy, Sidney Poitier, Katharine Houghton, Beah Richards, Roy E. Glen Sr, Cecil Kellaway, Isabelle Sanford, and Virginia Christine; The Party (1968), starring Peter Sellers, Claudine Longet, Denny Miller, Carol Wayne, Gavin MacLeod, Faye McKenzie, Marge Champion, Steve Frankel, Jean Carson, Corine Cole, J. Edward McKinley, and Herb Ellis; The Parent Trap (1998), starring Lindsay Lohan, Dennis Quaid, Natasha Richardson, Elaine Hendrix, & Lisa Ann Walter.  --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest is Christopher S. Connelly, author of Helen Morgan: The Original Torch Singer and Ziegfeld's Last Star. Morgan was a hugely popular singer and actress who set the template for musical theater performance style. We talked about Morgan's big heart, her deeply emotional connection with audiences, and how her approach to life was more Auntie Mame than as the downtrodden songstress she has been typically rumored to be.   Learn more about the book and where to buy it here: https://www.kentuckypress.com/9781985900592/helen-morgan/   The show is available on— Apple, Spotify, Amazon Music, PocketCasts, Google, and Radio Public   Like the podcast? Subscriptions are as low as 99 cents a month: https://podcasters.spotify.com/pod/show/k-cruver/support   You can also support my work on ko-fi: https://ko-fi.com/watchingclassicmovies --- Support this podcast: https://podcasters.spotify.com/pod/show/k-cruver/support

Open a new Window, Open a new Door.! Good Movie Podcast is back with a vengeance with the 1958 classic Auntie Mame.  When Mame Dennis receives the love and affection of her young Ward Patrick Dennis their lives will be changed forever. From the Upper West Side of Manhattan to the Deep South of Peckerwood, Mame Dennis knows that life is worth living and that most poor suckers are starving to death. Join us, Jonathan, Dan, and special guest Gabe a we recap the amazing plot of a film classique. "I stepped right on the ping-pong ball", imagine that? Rate, Review, Subscribe, and Listen to Us on Podbean/iTunes/Stitcher/Spotify Follow us on Instagram:@animewasnotamistakepodcast Or on Facebook:@animewasnotamistakepod Music Provided by: Cab Calloway, Irving Mills and Clarence Gaskill – “Minnie the Moocher” – RCA Instrumental/Karaoke Version Dave Flesischer – “Let's All Go to the Lobby”- National Film Registry/Library of Congress Kansas Joe McCoy, Herb Morand– “Why Don't You Do Right” – Claudia Santoro Instrumental/Karaoke Version

What is the best on-screen depiction of motherhood? Parenting columnist Amil Niazi picks the TV show Better Things and journalist Jane Marie chooses the 1958 movie Auntie Mame, leaving Aminatou Sow with the unenviable task of selecting a winner. Which of the two better captures the highs and lows of motherhood? How do you compare someone who chose to be a mom with someone who had motherhood thrust upon them? And how will Amil's baby attending the recording affect Aminatou's choice? As ever, it's up to her to decide as she determines which TV show or movie best portrays motherhood.   Follow Amil @amil on X and Jane @SeeJaneMarie on X and Instagram.   Keep up with Aminatou Sow @aminatou on Instagram and X. And stay up to date with us @LemonadaMedia on X, Facebook, and Instagram.   For a list of current sponsors and discount codes for this and every other Lemonada show, go to lemonadamedia.com/sponsors.   Joining Lemonada Premium is a great way to support our show and get bonus content. Subscribe today at bit.ly/lemonadapremium.See omnystudio.com/listener for privacy information.

“Should she know that I think you've turned into one of the most beastly, bourgeois, babbity little snobs on the Eastern seaboard?” Auntie Mame (1958) Directed by Morton DaCosta and starring Rosalind Russell, Forrest Tucker, Coral Browne, Roger Smith, Peggy Cass and Yuki Shimoda Next Time: To Wong Foo, Thanks for Everything! Julie Newmar (1995)

Rosalind Russel plays the titular aunt with delightful flair in this first adaptation of the best selling novel. A perfect balance of zany and clever, Auntie Mame is deceptively thoughtful, though not without some glaring failures at the Screen Test of Time.

GOD IS SASSY! TRUCKER HATS! https://amybrowncomedyshop.square.site/ Please like and subscribe! I also have podcast called Nerdy For! Audio everywhere. Full video on Youtube and Spotify. https://www.youtube.com/channel/UCjWEzSFwmUdD_vUneaHBEOw My shows are here… https://linktr.ee/AmyBrownComedy Tell me where you want me to come do a show! More social media.. https://www.facebook.com/amy.g.brown.739/ https://www.instagram.com/amybrowncomedy Amy Brown's silly smart comedy reflects on motherhood, dyslexia, and the dangers of shorty shorts. Accolades include opening for Real Housewife of New York, Sonja Morgan in Sonja In Your City, April Macie, Emmy Blotnick, Liza Treyger, Ali Macofsky & Adrienne Iapalucci. She is a regular at Atlanta's Laughing Skull Lounge and was in the top 101 in The World Series of Comedy 2022/2023 in Las Vegas. She was a finalist in the Funniest Person in Rochester 2022 and has performed in The Rochester Fringe Festival, Oak City Comedy Festival, The North Carolina Comedy Festival, and West End Comedy Fest. She also hosts a weekly podcast and Youtube series called Nerdy For. Find her at www.amybrowncomedy.com. Stand up, stand up comedy, comedy, jokes, funny, women in comedy, queer comedy, gay comedy, Judy Garland, Barbra Streisand, Auntie Mame, Musicals, Broadway, Pride 2024, Gay Pride, Happy Pride, Amy Brown, Amy Brown Comedy

What are you currently asking for? There is so much that is possible. There is so much available to you. Your story doesn't matter. It doesn't matter what you chose yesterday, what are you choosing today?  In this episode of Choice, Change and Action, Simone Milasas talks about how there is a universe of possibilities available to us and how playing with the quantum entanglements when you ask for things can create a bigger and greater world. What action are you taking today and what choice are you making today that will allow you to have a different and a greater future?  Daily Questions "What universe of possibilities is available?" “What else is possible beyond that?” "What can I receive today that I wasn't willing to receive yesterday?"  "What universe of possibilities is available to me today that I can receive today?" "What are the infinite possibilities?" Useful Links: The Clearing Statement explained Access Consciousness Website Choice, Change & Action Podcast Instagram Follow Simone Milasas Simone Milasas' Website Simone Milasas' Instagram Simone Milasas' Facebook Simone Milasas' YouTube Simone Milasas' Telegram Simone Milasas' Contact Email  Play with Simone Milasas The Profit Club membership Getting Out of Debt Joyfully Taking Action online video course All Upcoming Classes with Simone Past Class Recordings As Mentioned In This Episode Access Bars classes: https://www.accessconsciousness.com/en/micrositesfolder/accessbars  Foundation classes: https://www.accessconsciousness.com/en/classes/the-foundation  Relationships Done Different classes: https://www.accessconsciousness.com/en/micrositesfolder/relationship-done-different  Business Done Different classes: https://www.accessconsciousness.com/en/class-catalog/access-special-classes/joy-of-business  How The Universe Works: https://www.imdb.com/title/tt1832668  Science Exchange; What Is Entanglement And Why Is It Important?: https://scienceexchange.caltech.edu/topics/quantum-science-explained/entanglement  Auntie Mame movie: https://www.imdb.com/title/tt0051383 A Different Business For The World, evening class recordings with Simone Milasas, Prague, May 2024: https://youtu.be/6-ulBhM77nM?si=5-SwFNEr1ajLZhjc

Send us a Text Message.In this exciting episode of Small Business Big Dreams, we chat with Amy, the amazing founder of Auntie Mame's Events. Amy shares her incredible journey from a passionate event planner to a successful business owner.She takes us back to the early days of Auntie Mame's Events, talking about the obstacles she faced and the creative ways she tackled them. From finding unique decorations to handling client needs, Amy offers a peek into the world of event planning.Amy also shares some of her favorite event stories, showing the creativity and hard work that make Auntie Mame's Events special.This episode is packed with inspiration and practical advice for anyone wanting to break into event planning or start their own business. Don't miss out on Amy's insights and her passion for making every event magical!Support the Show.

One of TV's most familiar faces, Joyce Bulifant releases her memoirs entitled, My Four Hollywood Husbands. A book about a lasting love that is woven through the fabric of the world of entertainment, alcoholism, illiteracy, harassment, co-dependency and family."It's about truth…my truth…my perspective," says Ms BulifantJOYCE BULIFANT's extensive credits on stage, television and film have made her a familiar face and popular personality. After early days in summer stock and at the American Academy of Dramatic Arts in New York City led to regional and Broadway roles in Tall story with Glad Tidings with Diana Barrymore, Auntie Mame with Gypsy Rose Lee, Gentlemen, The Queens with Helen Hayes (Joyce's former mother-in-law), The Paisley Convertible with Sam Waterston, and Bill Bixby, and Whisper to Me, for which she received the Daniel Blum "Theater World Award.Ryan Wood is regarded as a leading authority on the Top Secret classified Majestic-12 intelligence documents and the 1941 Cape Girardeau, Missouri UFO Crash. He is the author of MAJIC Eyes Only: Earths Encounters with Extraterrestrial Technology, a landmark synthesis of 104 global UFO crash cases along with detailed discussions of the MJ-12 documents and their authenticity.A frequent lecturer on the UFO subject, Ryan has taught college courses and made numerous presentations about UFOs to civic organizations and at ufology conferences across the world. He has organized seven worldwide UFO crash retrieval symposia (2003-2009), each with conference proceedings and presentations from UFO crash investigators along with keynote banquet speakers. He once presented a UFO lecture to an international class of military officers for a National Security Affairs class at the Naval Postgraduate School that formed the basis of the final exam. He manages the content of www.majesticdocuments.com and along with his father was the executive producer of a television documentary that aired on the Sci-Fi channel detailing the authenticity of the Majestic-12 documents called The Secret. He has been interviewed on numerous television shows such as the History channel, ABC news and numerous local Bay Area, Denver, and Las Vegas TV channels. He has been a radio guest on Art Bell, Jeff Rense, and George Noray several times.Music licensed from Lickd. The biggest mainstream and stock music platform for content creatorsI Will Survive (Rerecorded) by Gloria Gaynor, https://t.lickd.co/zGPVwVR0AOm License ID: Mv37Yp0rZKlTry Lickd FREE for 14 days for unlimited stock music and get 50% off your first mainstream track: https://app.lickd.co/r/2499b92c963c4df295ab0375c59aab2fMusic licensed from Lickd. The biggest mainstream and stock music platform for content creatorsHow Long by Ace, https://t.lickd.co/M5xwO4yOxd3 License ID: R48E92Mg8vQTry Lickd FREE for 14 days for unlimited stock music and get 50% off your first mainstream track: https://app.lickd.co/r/2499b92c963c4df295ab0375c59aab2fBecome a supporter of this podcast: https://www.spreaker.com/podcast/night-dreams-talk-radio--2788432/support.

In the fourth episode, Mark-Eugene and David explore the significance of Patrick Dennis and his literary works in shaping the history of Broadway musicals such as "Mame" and "Little Me." The episode includes a captivating interview with Bernie Ardia, who discovered and facilitated the publication of the book "At Sea with Patrick Dennis: My Madcap Mexican Adventure with the Author of Auntie Mame." More information on the book can be found Rattling Good Yarns Press. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of On the Rocks, we have a very special and intimate chat with playwright, actor, director, novelist, cabaret performer, and drag icon Charles Busch as we talk about his childhood, his winding path to success, overcoming loss and grief, the fabulousness of the 80s in New York, the evolution of drag, celebrity stories, Auntie Mame, his new memoir Leading Lady, and so so much more...with host Alexander Rodriguez. Raise a glass, it's On the Rocks!From Straw Hut Media

Auntie Mame: An Irreverent Escapade is a 1955 novel by American author Patrick Dennis chronicling the madcap adventures of a boy, Patrick, growing up as the ward of his Aunt Mame Dennis, the sister of his dead father.   The book is often described as having been inspired by Dennis' real-life eccentric aunt, Marion Tanner, whose life and outlook mirrored those of Mame, but Dennis denied the connection. The novel was a runaway bestseller, setting records on the New York Times bestseller list, with more than 2 million copies in print during its initial publication. It became the basis of a stage play, a film, a stage musical, and a film musical.   In 1958, Dennis wrote a sequel titled Around the World with Auntie Mame.   Auntie Mame is a 1958 American Technirama Technicolor comedy film based on the 1955 novel of the same name by Edward Everett Tanner III (under the pseudonym Patrick Dennis) and its 1956 theatrical adaptation by Jerome Lawrence and Robert Edwin Lee. This film version stars Rosalind Russell and was directed by Morton DaCosta. It is not to be confused with a musical version of the same story that appeared on Broadway in 1966 and was later made into a 1974 film, Mame, starring Lucille Ball as the title character.   Opening Credits; Introduction (2.21); Background History (15.30); Auntie Mame by Patrick Dennis Plot Synopsis (17.01); Book Thoughts (21.56); Let's Rate (39.06); Introducing a Film (41.18); Auntie Mame (1958) Film Trailer (42.25); Lights, Camera, Action (45.31); How Many Stars (1:13.28); End Credits (1.18.01); Closing Credits (1:20.07)   Opening Credits– Jingle Bells by Ella Fitzgerald.  Taken from the album Ella's Swinging Christmas.  Copyright 1960 Verve Records.  All rights reserved.   Incidental Music:  Auntie Mame Original Motion Picture Soundtrack.  Music by Ray Heindorf and His Orchestra.  Copyright 1958 Master Classics Records.   Closing Credits:  We Need A Little Christmas by Angela Lansbury, Frankie Michals, Sab Saminino- Original Broadway Cast.  From the album Mame Original Broadway Recording.  Copyright 1966 Columbia Master Works Records.  ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used by Kind Permission.   All songs available through Amazon Music.

My guest this week is Lucas Hilderbrand, author of the new book The Bars Are Ours, which provides a deep look at the history of gay bars. Before he launched into this intriguing field of study, Lucas bounced around queer culture for several years, looking for the place where he fit in — a journey that included a particularly traumatic experience in musical theater. And it's probably not a surprise that his attention focused on the ways that queer people connect with each other, and the things that we lose when we lose institutions like gay bars.We'll have that conversation in a minute. First, a couple quick announcements, starting with a reminder that if you like this podcast, you'll probably like my weekly newsletter where I share fun stories about the making of iconic movies and TV shows, as well as the fascinating people behind them. You can sign up at MattBaume.com.Also, I've got a video coming your way on December 10 about the creation of 50s heartthrob Rock Hudson — and the group of secretly-gay men who designed an icon of American masculinity. That's at YouTube.com/mattbaume.And I hope you'll join me for weekly livestreams over on Twitch every Sunday afternoon. This weekend we'll be watching my favorite rom-com of all time, His Girl Friday, which started out as a play about two men before being gender-swapped to include the future Auntie Mame. That's at twitch.tv/mattbaume, Sunday at noon pacific, 3pm eastern.Also! If you haven't yet, take a look at my new book about the history of queer characters on American sitcoms, Hi Honey, I'm Homo! — available now wherever books are sold, and a very pleasant holiday gift. Go to gaysitcoms.com for details and to get a signed copy.Big thanks to everyone who makes all my work possible on Patreon — visit patreon.com/mattbaume to support Sewers of Paris and get patron-exclusive benefits.

Well, we've been gone for two months but we're back! And if you thought that this stupid comic strip wasn't still stupid, boy, are you in for a rude awakening! All the same old shit is still there: turtlenecks, Dutch angles, references to starlets of the '30s and '40s, no backgrounds, the McEldowney ellipsis! Oh, how did we survive all these weeks without these? Anyway, this stupid storyline is about Juliette and her boyfriend Elliott, whom everyone hates. (Including us!) One version of this story would be to say that he shows up to propose to her and ends up in the hospital. But it's all so fucking convoluted and the story changes with each new development. At first, Juliette is pretty confident that Elliott might pop the question, but she's not certain, so she wears a sexy dress to help him "pop." But later we discover that he proposes to her on a weekly basis. Then, we find out that the minute Elliott walked through the door, he inhaled a cough drop and needed medical attention. But later, we're told that he didn't inhale the cough drop until after she said yes. But even later, we're told that her dress caused him to have "an episode." And a doctor tells us that he inhaled a cough drop but then had an arrhythmia. Anyway, none of it makes any sense, especially the part where Elliott ends up in the ICU for more than a day. To confuse things even more, Brooke and Jeff talk about the ICU like it's the Emergency Room. But then again, that seems to be interchangeable with Brooke Mac-El-Dee as well. Later, a cat motorboats Juliette's boobs. And in the end, no one really gives a shit about what happened to Elliott because they're too busy talking about Juliette's dress. Spoiler alert: She's the sexiest person in the ICU and she loves it! The Chickweed strips we discuss this episode: Edda and Juliette mention Jean Harlow, Juliette promises to make Elliott "pop," Elliott chokes on his cough drop, and a doctor stares at Juliette's boobs are here (https://x.com/9chickweedRAGE/status/1710366406557220951?s=20). The "lethal, shrink-wrap, halter-top gown," Edda getting mad because her gay roommate thinks her mom is sexier, and Juliette looking hot (and enjoying it) in the ICU are here (https://x.com/9chickweedRAGE/status/1710366408151056421?s=20). A cat motorboats Juliette's boobs, Amos talks about his fetid corpse, and Elliott somehow on his deathbed are here (https://x.com/9chickweedRAGE/status/1710366410550190305?s=20). This lethal, shrink-wrapped episode includes: Dive, Dove, Doven? Phones, both corded and cordless Auntie Mame Turtlenecks! Jean Harlow Fisher-Price Little People (https://shop.mattel.com/collections/little-people) Dutch Angles! The character design from [Shark Tale](https://www.google.com/search?scaesv=569938233&sxsrf=AM9HkKlxERVw5MfqrxGptUaJi-AqJDQ4g:1696289606532&q=A+shark+tale&tbm=isch&source=lnms&sa=X&ved=2ahUKEwjcxLubw9iBAxVXJEQIHaNEPUEQ0pQJegQIDhAB&biw=1301&bih=802&dpr=2). No backgrounds! Cough drops Jolly Ranchers Arrhythmia Chekhov's Gun (https://www.masterclass.com/articles/writing-101-what-is-chekhovs-gun-learn-how-to-use-chekhovs-gun-in-your-writing) Les Nessman's bandages (https://en.wikipedia.org/wiki/Les_Nessman) The McEldowney ellipsis! Crystal Gayle Being motorboated by a cat The ICU Talk to Us! Having trouble understanding what's going on in a 9 Chickweed Lane strip you just read? Send it our way! We'll take a shot at interpreting it for you! Or maybe you just want someone to talk to? We're on Twitter: @9ChickweedRAGE (https://twitter.com/9chickweedRAGE)

Georgie joined Girl Friday Productions in 2018, after authoring three books of her own and as a lifetime reader inspired by favorites including A Tree Grows in Brooklyn and Auntie Mame. Her passion for helping authors achieve their unique version of success makes her a client favorite. The post #189 – Georgie on Effective Marketing Tactics for Business Books in Today's Market first appeared on Write Your Book in a Flash Podcast with Dan Janal.

Bernie Ardia joins Dan for a chat about AT SEA WITH PATRICK DENNIS, a memoir by Robert Karr. Two friends go on a cruise down to Mexico and encounter the beguiling Patrick Dennis, author of Auntie Mame. This "Madcap Mexican Adventure" will leave you breathless as Patrick Dennis winds and weaves his way through everyone's hearts and pocketbooks. An adventure as exciting as the greatest rollercoaster ever.

Prepare to Feast on LIfe!Robert (Raub) Karr and his best friend, Walter, planned a relaxing cruise from Seattle to Mexico. Little did they know that their vacation would be upended when they met the author and creator of Auntie Mame, Patrick Dennis, on board the ship. Dennis was traveling under an assumed name. And much like his character Mame, Patrick Dennis brought a whirlwind of mayhem, fun, and chaos into the lives of those onboard the ship.Raub, Walter, and Patrick became fast friends, with Patrick attracting a collection of eccentrics and oddball characters wherever he went. What was supposed to be a simple cruise turns into a full-blown adventure when Patrick and Walter jump ship and disappear into Mexico. Later, Raub comes to their rescue. Wealthy widows, art connoisseurs, masked midget wrestlers, ladies of the night, and hunting rats are just part of the trio's comical escapades.The story behind At Sea with Patrick Dennis: My Madcap Mexican Adventure with the Author of Auntie Mame is as fascinating as the memoir itself. When Raub Karr passed away in 2017, his memoir languished unpublished and was doomed to be lost forever. Fortunately, theatrical hair designer, Bernie Ardia, rescued the manuscript from obscurity. Ardia instinctively knew this story needed to be shared with the world.So, don your best jewelry, fix yourself a cocktail, and prepare to laugh as you come on a madcap Mexican adventure with Patrick Dennis, Raub, and Walter. To quote Patrick Dennis's most famous character, Mame, "Life is a banquet and most poor suckers are starving."Patrick Dennis, Raub, and Walter pile their plates high and feast from the banquet of life.Support this show http://supporter.acast.com/houseofmysteryradio. Become a member at https://plus.acast.com/s/houseofmysteryradio. Hosted on Acast. See acast.com/privacy for more information.

Happy Mother's Day! And here's a gift for all the Mama's out there: Hollywood hunk/Broadway babe/mommy's boy, Craig Bierko- AND his Mom, Pat! (Say whaaaat?!) *Faints* This week, AW flies solo and is joined by past guest Craig, and his adorable Mom- the artist formally known as Punky Distillator- to check out her namesake band, Distillator (now Cryptosis) with their debut album 'Revolutionary Cells', before Craig shares with us why 'Mame' is such a personal show for him and his mom. Plus, we chat being a stage-mother, the Music Man, injuries, cooking, growing up, raising Craig and his brother, trolling twitter, mentoring, and soooo much more on this extra-EXTRA special Mother's Day edition.Dedicated to darling little Boo! xoxo Help support Loma Linda University Children's Health - https://lluch.org/ways-giveCraig on socials: https://www.twitter.com/mrcraigbierko -- https://www.cameo.com/boodog?utm_campaign=profile_shareCharlie/Tarzan/Hunchback tickets: https://www.tuacahn.org/https://www.thetonastontales.com/listen -- https://www.patreon.com/bloomingtheatricals - https://twitter.com/thrashntreasurehttps://linktr.ee/thrashntreasure*****Help support Thrash 'n Treasure and keep us on-air, PLUS go on a fantastical adventure at the same time!Grab your copy of The Tonaston Tales by AW, and use the code TNT20 when you check out for 20% off eBooks and Paperbacks!https://www.thetonastontales.com/bookstore - TNT20 ***** ★ Support this podcast on Patreon ★

The history of drag is full of bigger-than-life personalities who have been trailblazers, setting the scene for the Drag Race generation of superstars. Making their entrance into the drag spotlight like a lioness with style, grace, and a side of camp, is one of entertainment's finest leading ladies…Charles Busch. This multi-hyphenate entertainer made an indelible splash onto the scene in New York in the mid-'80s with his play Vampire Lesbians of Sodom, an unlikely hit that became one of the longest-running plays in the history of Off-Broadway. Not only did the show turn the theater scene on its head, but it also ignited the audience's love affair with Busch, making his drag famous (or infamous) on a mainstream level with no one doubting the man in a wig as a bona fide starlet. This playwright, actor, director, novelist, cabaret performer, and drag icon's career would prove to be as colorful and almost as fanciful as one of his early plays with a Tony nomination, Outer Circle Critics' John L. Gassner Award, Sundance Film Festival Award for Best Performance, honorable mention at the Tribeca Film Festival, Drama Desk Award for career achievement as both performer and playwright, a star on the Playwrights Walk outside the Lucille Lortel Theatre, two MAC awards, an infinite amount of critical acclaim, standing ovations, and a near cult following. This summer he tells all in his memoir, Leading Lady. Talking to him is dizzying as he recounts his almost too-hard-to-believe real-life stories, the people he's come across, and the characters he has created.On this episode we chat about Charles early childhood including the loss of his mother and being raised by a real life Auntie Mame, his sexual evolution, the duality of his characters, his first plays, getting into drag for the first time, his novel Whores of Lost Altantis, East Village in the 80s, getting political through art, some dish about his upcoming memoir Leading Lady, and more! Hosted by Alexander Rodriguez

Auntie Mame: Join host Jill Collister and her guest, Lynn Landry as they talk about the heartbreak of career-- Losing your job, not knowing where your passion lies, or being "too much" for the corporate world. They discuss while also discussing the queen of "too much" Auntie Mame.  Auntie Mame is a 1958 American comedy directed by Morton DaCosta. The film was based on the 1955 novel of the same name by Patrick Dennis. It was a book, then a play, then THE musical Mame. The film version stars the fabulous Rosaland Russell as the title character of Auntie Mame who becomes gaurdian to her brother's son, her nephew Patrick and teaches him that "Life is a banquet and most poor suckers are starving to death."  Please rate, review and subscribe 

This week we take a look at our first Hitchcock film on the podcast: Vertigo, starring Jimmy Stewart and Kim Novak.By "Where Lies the Strangling Fruit" on KindleTheme music by Prod. RiddimanOther Films Mentioned:The 39 Steps (1939, dir. Alfred Hitchcock)Always Tell Your Wife (1923, dir. Alfred Hitchcock and Seymour Hicks)Auntie Mame (1958, dir. Morton DaCosta)The Birds (1963, dir. Alfred Hitchcock)The Birth of a Nation (1915, dir. D.W. Griffith)The Blackguard (1925, dir. Graham Cutts)Blackmail (1929, dir. Alfred Hitchcock)Brink of Life (1958, dir. Ingmar Bergman)Cat on a Hot Tin Roof (1958, dir. Richard Brooks)Chinatown (1974, dir. Roman Polanski)Citizen Kane (1941, dir. Orson Welles)Diabolique (1955, dir. Henri-Georges Clouzot)Family Plot (1976, dir. Alfred Hitchcock)Gigi (1958, dir. Vincente Minnelli)The Hidden Fortress (1958, dir. Akira Kurosawa)I Want to Live! (1958, dir. Robert Wise)Intolerance (1916, dir. D.W. Griffith)Jaws (1975, dir. Steven Spielberg)The Jazz Singer (1927, dir. Alan Crosland)Knives Out (2019, dir. Rian Johnson)Lifeboat (1944, dir. Alfred Hitchcock)The Lodger: A Story of the London Fog (1927, dir. Alfred Hitchcock)The Lord of the Rings: The Fellowship of the Ring (2001, dir. Peter Jackson)The Magician (1958, dir. Ingmar Bergman)The Man Who Knew Too Much (1934, dir. Alfred Hitchcock)The Man Who Knew Too Much (1956, dir. Alfred Hitchcock)The Manxman (1929, dir. Alfred Hitchcock)Marnie (1964, dir. Alfred Hitchcock)Mon Oncle (1958, dir. Jacques Tati)The Mountain Eagle (1926, dir. Alfred Hitchcock)No Time for Sergeants (1958, dir. Mervyn LeRoy)North by Northwest (1959, dir. Alfred Hitchcock)Notorious (1946, dir. Alfred Hitchcock)Obsessed With Vertigo (1997, dir. Harrison Engle)The Passionate Adventure (1924, dir. Graham Cutts)The Pleasure Garden (1925, dir. Alfred Hitchcock)Poltergeist (1982, dir. Tobe Hooper)The Prude's Fall (1925, dir. Graham Cutts)Psycho (1960, dir. Alfred Hitchcock)A Quiet Place (2018, dir. John Krasinski)Raging Bull (1980, dir. Martin Scorsese)Rear Window (1954, dir. Alfred Hitchcock)Rope (1948, dir. Alfred Hitchcock)Saboteur (1942, dir. Alfred Hitchcock)Separate Tables (1958, dir. Delbert Mann)South Pacific (1958, dir. Joshua Logan)Spellbound (1945, dir. Alfred Hitchcock)Star Wars (1977, dir. George Lucas)Strangers on a Train (1951, dir. Alfred Hitchcock)That's Entertainment! (1974, dir. Jack Haley Jr.)To Catch a Thief (1955, dir. Alfred Hitchcock)Topaz (1969, dir. Alfred Hitchcock)Touch of Evil (1958, dir. Orson Welles)Under Capricorn (1949, dir. Alfred Hitchcock)The Wages of Fear (1953, dir. Henri-Georges Clouzot)White Shadows (1924, dir. Graham Cutts)Woman to Woman (1923, dir. Graham Cutts)The Wrong Man (1956, dir. Alfred Hitchcock) Become a member to receive more weekly content at https://plus.acast.com/s/the-blue-rose-film-podcast. Hosted on Acast. See acast.com/privacy for more information.

Auntie Mame was a big hit for both star Rosalind Russell and Warner Brothers in 1958, winning best picture at the Golden Globes and getting nominated for six Oscars - in fact, the character's signature line "life is a banquet, and most poor suckers are starving to death!" was one of the most-quoted for decades...but for some reason, this winning comedy has fallen out of the public eye. Martini Giant thinks it deserves a fresh look, however, as in many ways, it's more radical and boundary-pushing than many films today! Our Website: https://www.martinigiant.com/ Threadless: https://martinigiant.threadless.com/ Discord: https://t.co/oNkfBkJyPo Patreon: https://www.patreon.com/martinigiant Twitch: https://www.twitch.tv/martini_giant Twitter: https://twitter.com/martinigiant Facebook: https://www.facebook.com/MartiniGiant/ Instagram: https://www.instagram.com/martini_giant/ TikTok: https://www.tiktok.com/@martinigiant #1958 #mortondacosta #rosalindrussell #comedy #drama #romance

RuPaul Poker Face We watched Auntie Mame starring Rosalind Russell. Next week is Coffy starring Pam Grier. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/john-burns1/message

We are watching: RuPaul Poker Face The Last of us This week's movie Towering Inferno - oh my! Next week Auntie Mame staring Rosalind Russell --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/john-burns1/message

What you'll learn in this episode: How dyscalculia changed Michele's path in jewelry for the better Why Michele lets her hands guide her artistic process, and how she embraced her style of working Why jewelry artists don't need to make their work smaller or more palatable to find a customer base How the Little Rock, Arkansas art scene compares to the rest of the country How Michele uses her jewelry to connect with patients About Michele Cottler-Fox Michele Cottler-Fox is a physician jeweler, with a studio practice focusing on translating fiber techniques to metal, primarily crochet, knitting, and twining, and often incorporating found objects to tell a story. She was one of four metal artists chosen for the Heavy Metal exhibit by the Arkansas committee for the National Museum of Women in the Arts. Additional Resources: Instagram Photos available on TheJeweleryJourney.com Transcript:   Physician-jeweler Michele Cottler-Fox struggled with dyscalculia—a math learning disability—as a child. When she began to study jewelry, she found math-heavy jewelry fabrication methods and measurements nearly impossible to understand. But instead of stopping her jewelry career in its tracks, this disadvantage pushed Michele to make her freeform crocheted metal designs. She joined the Jewelry Journey Podcast to talk about how she embraced her creative process; where her career as a physician and her career as a jewelry artist intersect; and why she loves crocheted designs.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    I am pleased to welcome Michele Fox to the Jewelry Journey Podcast. I've gotten to know Michele through several of the trips we've taken as part of Art Jewelry Forum. In addition to making very unusual jewelry, Michele is a physician who now works part time at the University of Arkansas Medical Center. We'll learn all about her jewelry journey today. Michele, welcome to the program.   Michele: Thank you for having me, Sharon.   Sharon: I'm so glad. It's great to have a chance to talk to you uninterrupted. Tell us about your jewelry journey. Were you artistic as a child? Did you know you wanted to be a doctor?   Michele: I come from a family where women didn't sit with idle hands. My grandmother taught me to crochet and knit before I was six years old. I can remember very clearly her saying to me, “Don't ever crochet. You do not know how to count properly.” I put the crochet hook away at an early age, picked up the needles and never looked back. I taught myself to embroider and to do needlepoint, but my family, for the most part, never thought about me as being a creative type. I did have a great aunt, very much an Auntie Mame type of person, who was a dress designer. She thought I was creative and tried very hard to encourage me, but the rest of the family, being engineers and physicians, they won.   Sharon: So, your family was more science oriented.   Michele: Very much.   Sharon: Can you tell us about your jewelry education? Did you go to GIA? What did your jewelry education entail?   Michele: I was self-taught from the beginning almost to the end. I grew up in a family where jewelry was the gift of preference for all special events. My father had worked as a teenager in an import/export business, so he knew many of the people involved in stone cutting and stone selling in New York City. I would tag along with him as a kid when he went to say hi. One of my favorite experiences was meeting a man who sold opals and being allowed to choose my own gift from everything in the case. It was overwhelming. While being seven or eight years old, there was a little glass bubble filled with opal chips and liquid that hung from a pendant. I still have it.    Sharon: Wow! And you still have it. Do you wear it? I haven't seen it, I don't think.   Michele: I pretty much stopped wearing anything around my neck when I began working in the hospital full time. Necklaces have a tendency to go straight down into patient's faces which when you are trying to listen to their lungs or their heart.   Sharon: Were you attracted to glittery things besides this case?   Michele: I loved stones. I loved the color and the shape and the light when you move them. In fact, after graduate school, I took a class learning to cut stones and to polish them. I ran up against the fact that I'm both dyslexic and dyscalculic, which means measuring and numbers are very difficult for me. Although I could polish stones beautifully and evenly, I could never figure out the faceting machine. So, I gave that up.    Sharon: Did you want to be a maker after school?   Michele: I thought for many years that I wanted to be a maker of some sort, but there was really no time to go to school. So, I started designing jewelry and trying to find people to make it for me. There were a lot of gold and silversmiths in the Baltimore/ Washington area. I would look at what was available at the ACC Baltimore Craft Show and try to find a maker from my area who was showing there and talk them into making something for me. I rather rapidly learned that describing what you want to someone when you don't understand what's involved leads to some major disasters.   Sharon: That's a really interesting idea. I never thought of that. It seems like on this side of the country, there's not much going on.   I met you through Art Jewelry Forum, so I've only seen you be attracted to what I would call avant garde jewelry. What attracted you to that?   Michele: It was a very slow shift from classic jewelry onwards. I had exposure to good design from makers sold by Tiffany and Georg Jensen as a child and teenager. I didn't know at the time that I was seeing Georg's work and very famous Scandinavian gold and silversmiths. My husband and I lived in Sweden after I had a degree in research biology and before I went to medical school, and I discovered that all the things I liked best were Scandinavian. So, I started learning about classic Scandinavian jewelry while we lived there.    When I came back to the States after medical school, I started looking for galleries and more modern makers in the Baltimore/Washington area. I was very fortunate in meeting a gallerist who had a gallery at the time in Baltimore called Oxoxo, which no longer exists. The gallerist retired many years ago, but I would stop in on my way home after a Saturday on call at the hospital and she'd let me play. I would try everything on in the gallery. I would always find the one thing that wasn't properly made. I'd say, “How does this work?” and then it would break in my hands, to the point where I felt I was a disaster. But the gallerist had a different take on it. She said, “You need to come the night before I open a show and try everything because then I'll find the one thing that isn't going to work. I wouldn't have it in the show to scare people.” We got to be good friends, and she helped educate me about what I was looking at and the makers. One day she said, “You have such good ideas about what you're looking at. You really need to learn how to make something like this,” but there was no time. The Maryland Institute College of Art, MICA, was literally visible from my office window in the hospital, but there was no time to go, which was very frustrating.   Then I was offered a job in Little Rock and took it. I suddenly discovered I had three hours a day in my life that I never had before because I was no longer commuting. There was a night school attached to the art center, and I started to take classes. Again, I came head-to-head with the fact that I'm dyscalculic, which means I can't measure worth a darn and I can't count, so fabrication drove me crazy. I couldn't stand it. So, I stopped taking classes and I thought, “All right, I'm just going to figure this out on my own.”   I was home sick one weekend. I had a spool of wire I had bought for something that didn't work, and I had crochet hooks and knitting needles at the side of the bed because that's what I did when I was home alone. I thought, “I wonder,” and I picked up the spool of wire, which was silver. I threaded on some random beads and started to crochet, and the necklace self-assembled. I had no idea what I was doing, but my hands made something that was beautiful and wearable, and I thought, “O.K., I've got to do more of this.” I still have that necklace, which is amethyst beads on silver wire.   Sharon: You thought it was so beautiful. Did you consider selling it? What happened?   Michele: Absolutely. Selling started as an accident, as most good things in my life have been. I walked into a local gallery, and the gal behind the counter—who was the owner, it turned it out—looked at what I was wearing, my own work, and said, “Do you sell your work?” I said, “Well, I'd like to. Why?” She said, “I want to carry it.” So, I gave her some earrings and a couple of necklaces. Being very young at the business, I said to her, “Here's my beeper number. I'm a physician. I'm always on call. If somebody actually buys one of these, please let me know.” She laughed, and I'll be darned if two days later I didn't get a beep saying, “Your earrings sold.”   Sharon: Did you make more?   Michele: Of course. I was hooked. It was a novel experience, that I could suddenly make somebody happy. I'm trained as a hematologist/oncologist, and most of what I have to tell patients does not make them happy.    Sharon: I can believe that.    Michele: This sense of joy that people got from picking up and trying my stuff on was an overwhelmingly positive experience that I wanted to continue.   Sharon: Did you consider yourself a salesperson?   Michele: No. I'm bad at it. The gallerist is now one of my best friends. She grew up in a retail family, and she shakes her head every time we do a show together. She knows how to present her work. She knows how to sell her work. I just tell people what I made, why I made it and how I did it. It's good enough. They take my stuff home anyway.   Sharon: So, you don't have to sell it; it sells itself.   Michele: It's a very tactile form of jewelry, and it is very different from what most people are accustomed to seeing. I learned that there are some people who look at it and say, “Well, it looks like a Brillo pad. Why would I pay money for that?” and that's O.K. I have no ego about it, none. I want my pieces to go to someone who loves it. I prefer that people who are not enthusiastic about it not have it.   Sharon: I have to stop here and say even though we show images on the website, we're not showing what you're talking about. Everything you have is crocheted or knitted wire. It's all, like you said, the Brillo pad look. I never thought of a Brillo pad, but it's wire crochet. It's very interesting and freeform, much of it. What do you do?   Michele: My hands figure out what to make. For many years I thought that meant I wasn't really an artist, until I started reading what artists I admired said about their own manner of working. I read an essay by Becky Kessler, who is a Dutch artist I love, and she said exactly the same thing I've been saying. Her hands decide what to make and she just goes along with it. As her hands work, she has many different options, but the choice of what to make is her hands' choice.   Sharon: Do you have wire next to your chair or your bed and you just decide to do it?   Michele: That's exactly right. The spools of wire are in a basket at bedside. The crochet hooks are in a copper bowl at bedside.   Sharon: Are you knitting or crocheting? I know the difference, but looking at it, I can't tell.   Michele: Most of the time these days, I'm crocheting. Knitting is a little bit more difficult physically for me. I have to do it around the needle or it falls off continuously. The stitches don't slip off the way they would if they were yarn, so it's easy to recover, but it was more frustrating, I think. With the crocheted pieces, my hand can make round things or flat things. I noticed a long time ago that the hook is in my right hand, but my left hand actually forms what I'm making as I move. So, even when I teach someone to make exactly what I make, it never looks the same because their hand forms it differently.   Sharon: That's interesting. Michele, there are two things I remember about you. One is that you didn't speak any Swedish before you went to Sweden to medical school there, right?    Michele: That's absolutely correct.   Sharon: That is amazing to me. And now you say you don't know numbers or fractions. What you did is really amazing.    Michele: There are workarounds for everything if you're determined. I think “determined” ought to have been my first name rather than Michele.   Sharon: Were you determined to be a doctor, a physician, a scientist, a bio-researcher? What were you going to be?   Michele: At the age of 12, having read science fiction hidden in my physician uncle's library, I decided I wanted to go to space, but I knew even back then that, as a woman, I was going to have difficulty getting into an official program for space. I decided that if I were a physician and I had gone through a psychology major in college, I might have a better shot at it. I was thinking, “Be a surgeon. Have a backup plan as psychologist, and maybe there will be a position for me on a space station or a colony on the moon.”   Sharon: Where you can crochet.    Michele: I wasn't even thinking about that. My grandmother had said, “Put it away. You don't know how to count.” Once I decided that's what I was going to do, I just walked in a straight line. I applied to colleges that had strong psychology programs. I ended up going to Clark University in Worcester, Massachusetts, which was the only school that Sigmund Freud had visited. It was also a college where Robert Goddard, the father of rocketry in this country, had worked. I had exactly what I wanted all in one place. Of course, taking the introduction to psychology class disabused me completely of the notion of being a psychologist. I ended up a biology major with a minor in English.   Sharon: That's an interesting combination. I bet you're the only one who has a biology major and a minor in English. What would your grandmother say now that you crochet and that people want the things you make?   Michele: I think about that often. I see her shaking her head or rolling her eyes. The English major put me in very good stead because I've been a language editor for all my working life. I primarily help people who do not have English as a first language but need to write in English.   Sharon: Do you read what they've written and say, “This is what you really meant to say,” or “This is how you'd say it in English”?   Michele: I fix it for them.   Sharon: I know you still work part time, but when you decided to retire, was your plan that you would have more time to make jewelry?   Michele: That was exactly what I had planned. I thought it would be a very easy segue from full-time physician to full-time artist. My initial plan was that I'd take the first year after retirement and go to school to learn better techniques. Of course, I chose to retire in July 2019, which meant I found myself confronting the pandemic.    Sharon: So, you had a lot of time on your own.   Michele: I had two straight years at home. I focused on making things that were much bigger than I had the time to make beforehand. As I was thinking about all the changes the pandemic was inflicting on us, I started to work in series. My first series I called “Social Distancing is Awkward.” As the pandemic progressed, I made a series called “Controlled, Constrained and Confined.”   Sharon: Was that just the name you gave it, or did you form it around the name?   Michele: In that case, I actually had the name first and I was thinking about how I could represent it. My hands gave me a way. I've always worked in series to some extent because as I make one thing, I see a different way I could have done it, and I need to make that in order to see if it works. After “Controlled, Constrained and Confined,” I made one called “What Galaxy Do You Live In?”   Sharon: When you said you made them larger, did you mean you wanted to bring them to a gallery? Were they too large to wear?   Michele: Very few of my things are too large to wear, particularly since I have a good friend and fellow member of AJF in Little Rock who says it's not big enough. I have a couple of galleries in Little Rock that take my work. They've never shied away from any of the things I bring them, and I have brought several big things. People aren't nearly as frightened of them as I always thought they would be, which has been a pleasant surprise. This year I've been working on a series called “Broken People” because of what I see around me.   Sharon: That's a good name. I have to say I was very impressed with how creative Little Rock was. I never thought I'd ever be in Little Rock, but it was a very creative town.    We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Films are a banquet and most poor suckers are starving to death except us. We end this year's holiday movie marathon by eating caviar with salmon spread and crackers, shrimp cocktail, and champagne (actually it was Prosecco) before we talk about Auntie Mame. Just like Mame, we've had our ups and downs but we always manage to come out on top. We hope you have a happy little ol' New Year and that you all Live, Live, Live!

State Senator Susan Moran stops by the show with a legislative update. Donnie Westhaver, Whitman Area Toy Drive talks about their annual Stuff a Cruiser event. Victoria Bond & Donald Sheehan from True Repertory Theatre discussing their production of Auntie Mame. Michelle McGrath from McGrath PR & Media Relations will share details on a series of upcoming South Shore holiday performances. Do you have an topic for a future show or info on an upcoming community event?    Email us at mondaynighttalk@gmail.com. If you're a fan of the show and enjoy our segments, you can either download your favorite segment from this site or subscribe to our podcasts through iTunes today!  Monday Night Talk with Kevin Tocci, Copyright © 2022.

Auntie Mame had its premiere at radio city music hall in New York on December 4, 1958. Here we are 64 years later celebrating a beautiful comedy that has stood the test of time. This is Rosalind Russell's most iconic role and her comedic genius is on display as Mame Dennis. Life is a banquet

My guest this week is Ben Sander, creator of the character Brini Maxwell, a drag hostess who's helmed shows about crafting, cooking, and homemaking, for decades. It all started with a little cable access show that he produced with some help from his mother, before becoming a cable TV series, with live shows that continue to this day — with Brini the character continuing to evolve as Ben her creator explores new artistic frontiers.(Also: if you're a fan of pop culture history — and I think you are — you'll probably enjoy Sam's great blog from a few years back, The Obscurity Factor.)We'll have that conversation in a minute. First, a reminder that I've got a book coming out next year about queer sitcoms! It's called Hi Honey, I'm Homo, and pre-orders are open — head over to gaysitcoms.com to get all the details.Also, big thanks to everyone who supports The Sewers of Paris on Patreon! Patrons get hours of exclusive bonus videos about pop culture history, stickers and stuff in the mail, and names in the credits of YouTube videos.

Intro: Emceeing a memorial serviceLet Me Run This By You: Fear and the paranormalInterview: We talk to Tina Parker aka Francesca Liddy about SMU, Blake Hackler, Andre DeShields, Maria Irene Fornes' Mud, Kitchen Dog Theatre, Breaking Bad, Better Call Saul, Robert Altman's Dr. T & the Women, Birdbath play, Perpetual Grace. FULL TRANSCRIPT (unedited):1 (8s):I'm Jen Bosworth Ramirez2 (10s):This, and I'm Gina Pulice1 (11s):We went to theater3 (12s):School together. We survived it, but we didn't quite understand it.4 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of3 (20s):It all. We survive theater school and you will too. Are we famous yet?2 (34s):So what does mean, What does it mean to mc a memorial?1 (40s):Yeah. I mean, I don't know what to call it. I I people keep it host. I'm not hosting cuz the family's hosting. So what it means is that I'm trusted, I think to not, Well one, I've done this twice, you know, I've lost both my parents. So I like know the drill about how memorials go, but also I think I'm kind of a safe person in that I will step in if someone goes kaka cuckoo at the memorial and I also have some, you know, able like, presenting skills. Yes. Right. And I'm entrusted to like guide the ship if it, and if it goes off kilter, I will say to somebody, Hey, why don't you have a seat?1 (1m 23s):This is like, we'll have time for this later if you really wanna get crazy or whatever. But that's, and I think it's just sort of steering, steering the grief ship maybe. I don't know. Yeah, look, I don't know. I like that. It's gonna be2 (1m 34s):Interesting, dude, people, Oh, honestly, they should have that for, you know, in other cultures where they have like professional grievers and professional mourners, it, it sounds a little silly, but at the same time it's like, no, this is right. Because no, we don't, we never know how to do it. Unless you've lived in a really communal environment where you, you, you, you know, you attend the rights, the ceremonies or rituals of everybody in your village, then you really don't know until, usually until it's thrust upon you. And then it's like, well, you're supposed to be grieving and then like hosting a memorial service. It's such a weird thing. So this could be another career path for you. You could be a professional, you know, funeral mc, I actually, honestly, I hate, I don't hate it.2 (2m 21s):I love it. Well,1 (2m 22s):And also could be my thank you, my rap name funeral Mc instead of like young mc funeral mc, but no. Yeah, I, I have no, and it's so interesting when it's not my own family, right? Like these are family friends, but they're not, it's not my mother who died. I don't have the attachment to I people doing and saying certain things. I don't feel triggered. Like being, I grew up a lot in this house that I'm sitting in right now, but it's not my, it was not my house. So I don't have any attachment emotionally like appendages to the items in the house where the girls do.1 (3m 2s):So I'm able to be here and, and, and be like, this is, this is, I'm okay here. I don't feel overwhelmed. And I think that is a sign that I'm doing the right thing in terms of helping out in this way if I got here and I was like, Oh my God, it's too much. But I don't feel that. And I also think that like, one of the things that I did with Nancy and Dave over the last couple years is like, they were literally the only adults. Well, I'm an adult, only older adults my parents age who are like, Yes, go to California, you need to get out of here, get away from this. They were the, so I that made me trust them. And then we stayed, we had like weekly phone conversations, just like they would each be on a line.1 (3m 46s):It was hilarious. And we would talk for hours like maybe once every two weeks, a couple hours. And it was really like a parenting experience. So I feel very close to them and I, what I'm learning is that like, even if other people have different relationships with people, you can have your own. So I know that no one's perfect, but these were allowed, like, you're allowed Gina to have your own relationship with your mom and with your even dead people than other people have.2 (4m 17s):Yeah. Yeah. I agree with that. Back to the plane for a minute. In these situations, what do the flight attendants do, if anything?1 (4m 28s):Oh, well I always talked to them before because I, so what I say, I always like to, because Dave, who's, who's a hypnotherapist and a psychologist, he said, Listen, you know, he used to be afraid. And he said his thing was talking to the flight attendants before and just saying like, Hey, I have a phobia. I'm a therapist. I'm working through it. Like just to make contact, right. I don't, I didn't say that exactly, but what I said was, Listen, I say, Hi, how are you? We struck up a strike up, a teeny conversation in that moment where I'm going to my seat and I say, Listen, I'm going to Chicago to like mc a memorial for like someone who's like my mom. So if you see me, so if you see me crying like it's normal. And they're like, Oh, thanks for telling me. And they're, they usually don't get freaked out.1 (5m 11s):I'm also not like intense about it. They do nothing. And you know what they, I think and, and she said, Thanks for telling me. I really appreciate it. Because I think they'd rather know what the fuck is going on with someone than thinking someone's about to hijack the goddamn plane.2 (5m 29s):Exactly. I was thinking that exact same thing. I was thinking like, especially right now, all they know is it's heightened emotion or it's not, you know, like they, they, they have no, they would have no way of differentiating, you know, what's, what's safe and what's dangerous. So I can't believe nobody's ever done this before. But we, another project that we could do is like airplane stories. I mean there is such, this is one of the few points of connection that humanity still has people that is who can afford to you fly a plane anywhere. But this thing of like, it sucks and it's dirty and it's growth and people, people's, you know, hygiene comes into question and if they're sitting next to you and it's uncomfortable and it's not the glamorous thing that it used to be even when we were kids.2 (6m 21s):So it's, it's one of those moments unless you have a private plane where you're sort of forced to reckon with like the same thing that everybody else in humanity has to reckon with. But even on a private plane, and I would argue even especially on a private plane, there is the fear of your imminent death. Like the, the, it doesn't matter if you're afraid of flying or not, it crosses your mind.1 (6m 42s):Well, yeah. And I, my whole thing is like, I, I don't know what would happen if we all started talking about that on a plane. So like what would that be like? So, okay, when I was traveling last with home from San Francisco with Miles, I sat next to this woman, Miles was in the middle and the woman on the aisle was this woman. We were both afraid. And we had this idea for a fricking television show, right? Which was two, it's called the Fearful Flyers and then two people on each side and a famous person in the middle seat. And we would interview them as we, we flew to one, take our mind off it, but two really delve into our own fear and did the person of any fear and get to know a celebrity at the same time.1 (7m 27s):Now she never texted me back. So she's clear, clearly she's not that interested. Cause I was like into it. I was like, what if we get, I know, I know. And she's not even in the industry. She's like, so, but I was like, hey fearful flyer friend, I think we should talk about our idea. Crickets radio silence. So whatever. She's moved on. Like she just used me for the, for the Yeah. No entertainment, which is fine,2 (7m 53s):Heightened emotional space. She, she bonded with you, but now she's back to like all of her armor and all of her gear and she doesn't wanna think about flying until she has1 (7m 60s):To. No. Right, right. Exactly. It's not something that she wants to delve into on her free time, you know, So, which I don't blame her. But anyway, so yeah, it's an interesting thing. Like I literally ha I sit out the window, I sit by the window and I have to look out the window. And this guy next to me who I met, who's like a vet and who is like, was self-medicating with alcohol and who is a gay vet was really interesting. But he, everyone copes differently. But it was in, at one point I thought, oh, I actually don't wanna be distracted by him because I'm really doing some deep work with myself as I look out the window and also your version of like getting through this experience, I, it does not feel safe to me, which is drinking and like just, I cannot distract myself.1 (8m 52s):People are like, Oh, read a book. I'm like, are you fucking kidding me? That's like telling someone I don't know who's having a seizure to read a book. Like you, you, it's not gonna work. Right. I look out the window and, and do therapy with myself. That is what I2 (9m 7s):Do. I love it. That's great. I think everybody who is listening to this, who has any kind of fear or intimidation around flying should, should do that. I don't know if you were getting to this, but I thought you were gonna say something about like how, Oh, you said, you said what if we all talked about it now? Every positive communal experience with the exception of theater that I've ever had, I've gone into unwillingly at the beginning and you know, sort of rejecting it and then come out the other side. Like that was amazing. You know, the thing that you experience, the communal thing, the thing of like, we're all in this together, which we are all like so actually parched for, but we, people like me would never really kind of actively sort of approach.2 (9m 48s):It has to be thrust upon me these like healing group experiences, but amen. In fact, they could make a whole airline that is sort of about that. Like this is, you know, this is the emotional express. Like this is where we're gonna talk about our fear of flying. Cuz everybody's crying in airplanes too. Being in the actual airplane does something to you that makes everybody much more vulnerable than there are otherwise.1 (10m 13s):It's so crazy. I agree. It could be emotional express and you could deal with it, but you would know getting on this plane, like people are gonna talk about their feelings and you shouldn't get on it. So the guy on the aisle2 (10m 26s):Yesterday, No,1 (10m 28s):No alcohol. Oh yeah, no alcohol. The guy on the aisle like hated everything about the flight, Right? He was like shaking his head. He was annoyed. But then he had a Harvard sweatshirt on. I was like, oh my god. But he was like middle aged guy, like coating or I don't know what he was doing, but he like hated everything. He shook his head when they told him to like put his bag under the seat. I'm like, listen, you know what's going on here. This is not your first time in an airplane, Why are you shaking your head? But okay. But then he said something that was hilarious and I said, I'm gonna put that in a script. Which, which was, I don't even know what he was responding to. It was probably my seat mate saying something. But he said, Listen, it's not ideal, but nobody asked me.2 (11m 13s):And1 (11m 13s):I, I'm gonna, and I said to him, I said, Listen, I am gonna put that in a script. Like the mother-in-law is meeting her future daughter-in-law and, and says, Listen, she's not ideal, but nobody asked me. And he laughed and then he said, it's true. And I said, Yeah, I know it's true. That's why. And so then he was like, then he was like free to talk about his disgruntledness, which was fine cuz then it was like he was more human. But at, he was hilarious. He was like the, like he's one of those people that like during and it was really turbulent at one point. And I was like, Okay, here we go. It's turbulence part of the deal. It's okay, fine. And he was like, just like angry at the turbulence.2 (11m 57s):I love1 (11m 58s):It. Which I thought was brilliant. Yeah, I'm like, but like, who are you angry at? Just like the turbulence. And he was like, ugh. And like angry at air flow. I don't know if2 (12m 7s):At air current1 (12m 8s):He was like pissed off. I was laughing. I was like, this guy's awesome. He just hates everything. It's, it is not ideal, but nobody asks me.2 (12m 17s):So what's so great about that? And so what's so great about you is like, you enga that's how you always engage people from this perspective of like, yeah, whatever is going on with you that you think is like nobody else wants to hear about, I want to hear about it. Because that's because that's what you spend your time doing. You know, bravely engaging with yourself. They, we need a person like you in all of these sort of like high stress situations that people have to do. Usually at some point in your life you have to get on an airplane. Usually at some point in your life you you have to speak, you know, in front of a group of people. You have to have the funeral. We need these sherpa's, these guides to kind of give us, basically just give us permission to have our own human experience that we have somehow talked ourselves out of having, even though it's completely unavoidable.1 (13m 3s):Yeah. And I also really respect people who now who have to just, I mean I, it's not my way, but like, shut down and they're like, Nope, I'm just gonna, they can do it. They're like, either it's drinking or whatever it is to distract themselves. They're like in it, whether it's the disgruntledness or other people, they like just go to sleep immediately. They like sit down and they're like out. And I don't think it's relaxation. I think they're just like checked. They're like,2 (13m 30s):I have, Oh yeah, no, they're, I cannot be conscious right now. I wonder what makes the difference between people who are afraid of flying and not, I have never once felt afraid of flying, even during turbulence. I've never once had the thought like, this plane is going down. I mean, maybe that changed a little bit when I had kids and I was always the one in the aisle, like holding, I had to hold my babies the entire flight because, because it must be a natural thing to be freaked the fuck out to be on an airplane. Even a baby freaks out to be on an airplane. So there's something to it. But what makes a difference between people who just, I've never had that fear.1 (14m 8s):I I know it is a foreign, it is like it is. I don't know either. And I, I I, there's other people like that have, What was the fear someone was talking about the other day? Oh, I have a friend who like literally cannot have their blood drawn. They have to go under almost. Wow. They almost have to be sedated to have their blood drawn. Me. I I stick out my arm. I don't give a, it's just not my thing. Yeah. I don't have any charge at it at all.2 (14m 37s):Well,1 (14m 38s):You could take my blood right now.2 (14m 40s):I used to have this theory that you grew up afraid of the things that your parents basically were afraid of so that they therefore communicated to be afraid of. But that I now think that that's completely untrue. My daughter is scared to death of spiders. She, she's haunted by this fear that when she goes into the bathroom at night, there's gonna be a spider. If there's the tiniest and we live in the woods, there's sp there's all kinds of insects that make that their way into our house. I have, there's not a spider I've ever encountered that I've been afraid of now. Mice and rats. That's what I'm afraid of. My mom was afraid of snakes. She did not transfer when I was younger.2 (15m 20s):I felt afraid of them too. And then one day I was like, eh, it's fine. Yeah. I don't think I have any coral with these snakes actually. I think it's completely fine. Right. So I, I don't, So it's something inherent in us that identifies an ob I think it's maybe like we've, I for whatever reason, this becomes the object of all of your fears. And it could be a spider, it could be a plane, it could be, you know, clowns. Like it's for a lot, for a lot of people. It's1 (15m 47s):Fun. Oh remember, Okay, Larry Bates, who we went to school with, and he's open, I think about this. Yeah, he is cuz he's, he's talked about it. I, he had a fear of muppets, like an intense Muppet fear. And I was like, Wait, are you, I thought it was a joke. I was like, Wait, Muppets, Like, okay, they're a little weird, but like, but like a phobia of a Muppet. And I was like, what the actual fuck. I couldn't like,2 (16m 14s):I just, that's it's not, dude, my version of that is I was afraid of mariachi bands.1 (16m 22s):Wait, mariachi bands?2 (16m 24s):Yes.1 (16m 25s):Like bands. Yeah.2 (16m 26s):Well, so growing up, growing up in, well, we love Mexican boots, so we were always going out for Mexican food. And back then, I don't know why every time you went to have Mexican food, you know, dinner, there was a mariachi band. Like, I, I, it doesn't, I haven't seen a mariachi band in such a long time, but it used to be that you could not go out for a Mexican restaurant dinner without a mariachi band. And I, it got to a point where they couldn't, first it was like, we can't go to have Mexican food anymore. It was like, we can't go to a restaurant. I just, I didn't want these mariachis and, and it must have just, I think it was the bigness of the hat and the loudness of the music right next to your table when you think about it, it's actually, so it's strange, right?2 (17m 9s):Yeah. That you're sitting at your table, like with your family looking, you know, whether you're gonna order the chalupa or the enchilada. And then it's just like, extremely loud, very good, but extremely loud and, and in huge presence. People sitting, you know, right next to your table.1 (17m 24s):Yeah. I mean it doesn't really make a lot of sense as a business move either. Like what, why it would like, it would like make people, unless you're drunk again, if there's alcohol involved, it changes everything. But you can't really drink as a toddler. So, but I think that like, maybe there's something, I wonder if there's something about that of like all the attention being on you. Like, listen, when there's, like, there are kids I know at restaurants when they, when it's their birthday and they come over to sing that they fucking hate it. It's too much attention on them. And adults too. And I can kinda understand that. It's like too much pressure, right? There's like a2 (17m 59s):Pressure. Well, you just unlocked it for me now I know exactly what it is. You said something about being drunk and I think at that age, I have always equated loud and raucous with drunk. You know, as a kid, I knew when anybody in my family was being loud raus. And, and actually, I'm sorry to say even especially when they were having fun. When I'm in a room, when I'm in a house and everybody's laughing, you know, my, it's like, I I I I just get that fear. I just get that fear sort of rise up. It's different now that I'm older and I've, you know, been in more situations where that hasn't been scary to me. But that's what it was with the mariachis, The loud and the festive and the music meant like, somebody's going to say something that they really regret.2 (18m 44s):Somebody's gonna get a dui, somebody's going to jail.1 (18m 50s):Hey, let me run this by you.2 (18m 58s):So imperfectly into the thing I wanted to run by you today, given that it is Halloween season and this episode will air the day after Halloween. But so I, you know, Well, actually no. Okay, I'll, I'll start with this. I am one of those people that desperately seeks paranormal experiences. And I'm almost always disappointed when I'm, when I'm actively seeking it, going to a psychic, going to a medium, going to, it's, oh, you know, it's, I'm never the one in the crowd where the medium goes. Like, I've got a message for you.2 (19m 40s):And I've, I've gotten to the point where I'm like, my family's like just not that into me. They don't wanna, you know, the people have passed over, like, don't wanna, don't wanna come talk to me, don't wanna give me messages. But I I, if you're out there, if you're listening, ancestors drop a line. I'd love to know what the deal is. I'd love to know what messages you might have from me because I actually really do believe that that can happen. Maybe it just needs to happen with people who are on a higher spiritual plane than any of,1 (20m 9s):I mean, I don't, I don't believe that for a sec. I mean, it could be true. What do I know? But I think, look, I do believe right, that most shit happens when you're not expecting it paranormal or not. Like all this shit that has happened to me, most of it has been not at all when I would've planned or thought or, and so I have one ghost story. I don't know if you know, it happened in Great Barrington, Do you know this story?2 (20m 42s):Yes. But tell it again. It's a great story.1 (20m 44s):Okay. Okay. I could care. I was like 21. All I wanted was to be skinny and have boys like me. I didn't give a fuck about ghosts, I didn't care about anything. So I'm in Great Barrington in edits, Wharton's the old Lady author's house, and I'm the stage manager. And this guy I was in love with was in this play that took place. The monkeys paw took place in the, they were doing an adaptation of the Monkeys Paw in Edith Wharton's parlor on Halloween. It was like the creepiest thing, but I didn't give a fuck because I was in love with the guy who was seriously haunted. Yes, yes, yes. Super, super Berkshire's, whatever. I didn't care.1 (21m 24s):I was like, ah, I wanna, I want this guy to like me. I don't give a fuck about any of that. Okay. So I, my job was to literally move the furniture after the rehearsal to the storage room. Okay. In this big mansion. Okay, fine. They're getting notes and I'm just probably daydreaming about how I can make this guy like me. And I'm moving furniture and I go into this little storage room and of course people talk about the house is so big and haunted, I could care less. So I'm in there and down the road from the house is a barn where they're doing the play Ethan from and Okay, Ethan from, there's like a sledding accident in the play. So he's on a sled and they start screaming and the guy is hurt.1 (22m 4s):So another show was going on at the, in the barn. And I'm like, ah, okay. So I'm moving the furniture and I hear this sled yelling and okay, I'm like, Oh, should they, I wish they would shut up. I was like, this is loud yelling. So then I, we finish our rehearsal and we're walking up back, me and the cute guy and some other people, and all I'm thinking about is how can I get this guy like me? And like, literally, and also now I see pictures of him and I'm like, Dear God. Anyway, so, so, oh my God, why didn't someone, I mean, you should, someone should have just slapped me like 10 times and been like, No. But anyway, but that's what I was, I was all about him. I had a thing for Canadians. Anyway, so, so like, I just loved the guys that was like international to me, Canadians.1 (22m 48s):Anyway, okay. So it was like all the Canadians. So we're walking in the dark to our cars and, and I say, and we walk by the barn and I'm like, Oh my gosh, you guys, they were so loud tonight when I was moving the furniture. Like they should shut up. Like, I, I wonder how it's gonna be when we're doing the Monkeys Past show. We're gonna hear Ethan from, and like every, there's like four of us. Everyone stopped and I'm like, What, what's wrong with you? Two or three or whatever. And they were like, like turned white. I've never seen this happen in human beings. And I was like, What is happening? I thought I said something wrong or like, of course, like I was bad. And I'm like, What?1 (23m 28s):And they're like, Oh God. And I was like, What? What are you punk me? What's happening? And they're like, There was no show tonight.2 (23m 37s):Ooh. Even though I knew that was coming the story, it still gave me a chill. Today on the podcast we are talking to Tina Parker. Yes. Tina Parker, the one and only Francesca Litty from the Smash Hit series, critically acclaimed and me acclaimed Better Call Saul and Breaking Bad Tina's a delight. She's a director, she directs for theater. She's got a theater company in Dallas, Texas called Kitchen Dog. And she was so much fun to talk to and I just know you are going to love our conversation with Tina Parker.2 (24m 33s):Oh, nice. Okay. Well I wanna get all into Kitchen Dog, but I've gotta start first by saying congratulations Tina Parker. You survived theater school5 (24m 44s):So long ago. My Lord, so2 (24m 46s):Long ago. Yeah. I I have no doubt that, you know, the ripple we, we've learned, it doesn't matter how long ago you graduated, the, the feeling of survival persists and the ripple effects of it persists.5 (24m 59s):Absolutely.1 (25m 1s):When I had longer hair, people used to always ask if I played Bob Oden Kirk's assistant on better. And I would say no. But I adore the human that plays her. It's brilliant performance and I love it. So2 (25m 17s):There you go. It really is. And I, and I wanna talk a lot about Better Call Saul, but you went to smu, which I did. You interviewed the current dean, I think he's the dean. Blake Hackler.5 (25m 30s):Yeah. Chair of Acting I think.2 (25m 31s):Chair of Acting. Okay, fantastic. I'm I'm assuming you guys weren't there. No, you never crossed5 (25m 36s):Path. But we've actually, he and I have crossed paths a bit professionally nowadays. Yes. Because we've, we, Kitchen Dog has done a few of his new play readings cuz he's a playwright also. So he's, he had at least two or three plays read in our New Works festival and he's always helped me out when I need recommendations for young people to come in and read. Cause you know, we're all old at Kitchen Dog.2 (25m 56s):Fantastic. Shout out to Blake. So SMU is a fantastic school. Did you always wanna go there? Did you apply to a bunch of different places? How did you pick smu?5 (26m 9s):Well, it's kind of a ridiculous story. I, my senior year of high school, you know, of course like a lot of people went to theater school. You're all like, I'm the superstar. My high school. Like, all right, I get all the leads. I'm Auntie Mame and Mame. You know what? Ridiculous.1 (26m 25s):I just have to say I was Agnes Gooch and I, I was the Gooch. Were you5 (26m 30s):Agnes? I was ma I was anti Mame in the stage play version. Oh yes.1 (26m 35s):I wa yeah, yeah, me too. I was Agnes Gooch. I wanted to be anti Mame, but so anyway, always a goo, always a Gooch. Never a Mame over here. But anyway, So tell us, So you were the start.5 (26m 46s):Yeah, you know, like everybody who went to theater school, everybody was the start at their high school. But I, my dad unfortunately had a stroke when I was a, and he was only, my parents are super young and so he was 40, I don't know. So it was very unusual. It happened like at the beginning of my senior year. And so my family was, it was all kind of chaotic. My senior year was very chaotic and I was also like the president of the drama club and, and we, you know, and all the people, you know, all the competitions every weekend. And so it was just a, there was a lot going on and my family stuff got into disarray because my dad ended up losing his job because he was sick for so long. And, and it was so I screwed up.5 (27m 28s):Like I missed a lot of applications. I never, I didn't really, it was one of those where it just kind of snuck up on me and I didn't really know the places I wanted to go. I had missed like certain deadlines because of the fall. And so I, SME was still one of the ones that was open. And so I did, was able to schedule an audition cuz you had to get into the school, but also, you know, get into the theater program. Like you could get into the school, not get into the theater program, you know, it is what it is. Luckily I still had time to do the audition, so I did that and then my grandmother literally walked my application through the admin, through the academic part because something I had missed, I think.5 (28m 13s):And my grandmother is very like, I don't know, it's hard to say no to my grandmother. So she went and they took this great care of her and she just kind of walked through and she's like, told the whole situation. And I mean, I had good grades. Like it wasn't, you know, like I did get in, I got scholarships and all this shit. Like I had, I had good grades, so it wasn't like I was like, my grandmother did it, you know, But she did walk it through. She's a thousand percent charmer. And then the, as far as the audition goes, I was an hour late because I got lost. And then there's this weird horseshoe at SMU cuz you know, go ponies or whatever bullshit that is, there was no parking.5 (28m 55s):And so I was like, got, was super late and I was just like, just like so sweaty and like, you know, you, everything's high drama when you're in high school, right? So you're like, this is is my last chance to be a doctor. I'm gonna have to work at the, you know, fucking shoe store that I was working at or whatever. It was forever. And so1 (29m 15s):I would, I, after I became an actor, I was still working at the cheese store after I went to, But the other thing I wanna say is like, also your grandma sounds like charming, but also like, she might be in the mob.5 (29m 25s):Well, yeah, she's totally like, yeah, I mean, I don't know. She's, she's she, she can get it done. She's the wife of a Methodist minister too. So she, she, she knows how she can, she can read a person and figure out like, this is what you need, you know, And she's just sweet, like, you know, she's charmer. But I ran into someone else's audition, like that's what I, I ran and they then the school, the school is all built, the school is all built crazy. So if you don't know the school, you get lost. And I was like, went and I going in the wrong places and I was an hour late and I was like, and like, I literally like, this is it not open the door. And they're like, somebody's in there like, like doing the thing. And I'm like, oh my god. And they're like, you know, and I was like that.5 (30m 7s):And I was just like, Oh God. And so I go and sit in the room and I just remember them coming in. I was like, I'm really sorry, you know, like the kid was like, whoever, I don't think they got in. And they, I just remember them looking at me like, you know, and they left and I was like, great, this is awesome. And then I go into my audition, which I chose the worst pieces, like the worst of course. Like, I think it was like, I can't even remember the name of the playwright, but it's like a really, really dramatic monologue from like bird bath, you know, My head is not a hammer, like something ridiculous. And then I also chose to sing, which I'm not the greatest. I mean, I can sing, I can sing karaoke, but not like seeing like I'm a musical theater actor. I, I, that's not me.5 (30m 47s):I think I chose seeing like the something that Nights on Broadway or some bullshit, like, you know, the Neon Lights On? No, No. On Broadway. Like ridiculous. Oh yeah, yeah, yeah. And they were like, luckily, luckily I did get in the interview part and then they're like, turn your, they're like, turn your monologue into standup comedy.2 (31m 6s):Oh wow. I never heard of that in audition. What a cool tactic.5 (31m 10s):Well, and it was also, I think they could tell that I was so freaked out and so nervous, but then that like, the interview portion went great. And so they're like, you know, then they were like, Hey, try like play around with this. And then like, the bad song that I had selected that I had practiced with my cousin who could play guitar or something, they're like, do some dance moves with it. So I was just like, I don't dance, but I started doing these ridiculous things and they're like, Yeah, good. They laughed and you know, I, I think it also let me relax. They're2 (31m 38s):Like, you are crazy enough to be in theater school. Wait, you guys, should we have a documentary series about people who are auditioning for theater school? Because honestly like the stakes are so high for so many people. I bet there's 1 billion stories. Yeah, I mean, some of which we've heard on, on, on the podcast, right? Boz? Yeah,1 (31m 58s):I think we do. I think we do. And all the, I just remembered that in my monologue was from the play about the woman who traps the rapist in her house and puts him in a fireplace.5 (32m 10s):Oh, the burning bed or whatever. Not the burning bed, but the, Yeah,1 (32m 14s):Yeah. And it's, it's, it's William Masterson.5 (32m 17s):Yes,1 (32m 18s):Yes, yes. And, and she has a fire poker and she's poking the rapist and I am 16 at the time. Oh, and I what? And a virgin, not that that really matters, but like the whole thing is not good. And why, why did I do that? But yet I got, But5 (32m 35s):That's what this piece was the same thing. It was so dark. And so like, this person is mentally ill and she's like, I get, there's not a hammer.1 (32m 41s):Don't hit me bear.5 (32m 42s):And you're just like, What?1 (32m 44s):I'm like it would've been, I mean I know this is terrible to say, but what if they told me to turn that into standup? Like that would be dark, dark, dark humor. But any, Okay, so you, you clearly like, what I love is that smu like knew how to take a teenagers anxiety and like shift it and so good on them, those auditioners like good on them. So you did that, you did you walk out of there feeling like, okay, like it started off really wonky, like me being late, but like I have a chance. Or did they tell you, when did they tell you5 (33m 15s):I felt good like that? When I, after I left I was like, okay, you know, like I wasn't sure like, cuz I was like, it was weird that they told me to change it to comedy, but I think it was good, you know, And like I felt like the interview part went good and they were, at the time, my class, this was the first year that they, they eliminated the cuts program. So what happened is they instead they had the BFA acting track and then they had, well what was proposed anyways, they changed our, what our degree was, but it was supposed to be ba in theater studies. And so if you were interested in directing, you know, playwriting, whatever, stage management, tech, whatever, and then acting you could also have, so you kind of chose focuses, but that was it.5 (34m 2s):And it had more of a little more academic focus. And so cuz before me, the classes, everybody went in as an actor. You did first two years and then they kind of just cut you basically. And were like, you're in this free fall of like a program that wasn't really planned.1 (34m 18s):Yeah. I mean like, that's how our school was too. And like half the people didn't end up graduating and it was a racket and now they don't do it anymore. But that5 (34m 27s):Was a huge, yeah, they stopped my year.1 (34m 30s):Okay. So, so was it that the people that maybe weren't get getting into the acting program went to theater studies? Is that how it was proposed?5 (34m 37s):I think that's what they were trying to do. I think they were also trying to figure out a way, or they were try some people left. I think they were also trying to keep their numbers up. And I think they also had people who were like, Hey we're, I'm an actor but I'm also a director. Why can't you make, get me some classes here? You know, like, I wanna have the class. If you're gonna cut me, that's fine. But like, I'm interested in these things too. Can there be a program? And so they kind of were building that program, like they had it out there, you know, and that when they took our class, we had very set paths of like, and we had the same two years together as a group. So freshman and sophomore year. And then we split into our kind of disciplines and they kind of still, like when I was, when we were juniors, kind of like, here's some things and we're like, okay, but our class was kind of a hard ass and we're like, where's our, where's our, where's this class?5 (35m 24s):Where's that? So we were always in the office saying, no, this, this like afterthought of a class, this should then fly and you know, I'm gonna direct a main stage or I wanna direct a studio. And they're like, Oh. And they're like, No, this is how it's gonna work or whatever. So like, yeah, me and Tim and Tim, who actually is one of my coworkers, a kitchen dog and then a couple other folks were pr I think we turned the, the chair at the Times hair white because we would go in there and be like, No, this isn't gonna work.2 (35m 53s):You just, you just made me realize that our, this, all the schools who had cut programs who didn't have another track to go into after were missing out on such a revenue stream. Right? Like our, at our school. Yeah. All the people who got cut like went to this other college and I'm thinking, what, what, When was the meeting where somebody goes, Oh my god, you guys, we should just have something here for them to do instead of sending them to another school. That's hilarious. Well,5 (36m 17s):And I think too, they find like, you know, like that there's kids that truly have talent for, you know, like a playwright or director, but then they're also really good actors. Which I think, you know, I think it's really good for people who are like, I am primarily like, I'm a mix Tim I would say who my coworker is is primarily a director, but, but it's great for both of us to go through acting, you know, like that's been, that's, but1 (36m 38s):I'm noticing is there's no, like our school had no foresight into anything, so it was like they didn't, So that's a problem in a, in a university.5 (36m 49s):Yeah. It, here's problem. Right.1 (36m 50s):So okay, so at your school, what was your experience like on stage the star? Were you And then, Oh, okay. And then, and then my other follow up question is, man, the follow up question is you're launching into the professional world. What did your school do or not do to prepare you? And what was your departure like into like, okay, now you're 22, live your life.5 (37m 11s):Bye. I would say for, I was kind of a mix. Like I had a lot of opportunities while I was there and some self created as far as directing opportunities. And we had an interesting system of like, there was a studio theater and we were able to have, we had this studio system, which a lot of non-majors would come and see plays because they were required, blah, blah blah. But so we got to direct a lot, you know, And, and Tim really fought and he got directed main stage and I was, I was, my senior year I was a lead in a play, you know, like just all sorts of things. Like I had a lot of great opportunities at smu. I think I had some also, I had some good teachers and directors while I was there.5 (37m 53s):So when I was a junior, you know, they had Andre De Shields in to, to as a guest artist, which really stirred the pot because he was not about like, let's talk about your objectives, let's talk, let's really do some table work. Like, he was like, Why aren't you funny? I don't get that shit. Like, go, go out. Why aren't you funny like this? Or come up with some, some dancing or whatever, you know. He was awesome. Like, I loved it. Like cuz we were doing funny thing happen on the way to the forum. I was one of the, you know, concubines or whatever the dance, I was Tinton Nebula, the bell, the supposed to be a, like a bell ringer, you know, like sexy dancer. And he said, I reminded him of some lady he lived with in Amsterdam. So instead I was a clogger and had bells and had giant hair that went out to here.5 (38m 37s):And yeah. And so he was like, he was great. Like, and but it really gave you the experience, it makes a lot of people crazy because he was like not interested in their process. What he was interested in was like results and like hitting your marks and like, you know, like he had sent me away and he was like, come up with 16 beats to that end I'm gonna see something funny. And so I came back in and did it and he was like, yes. You know, like it was, it was awesome. Like he would, he would really was a real collaborator.2 (39m 3s):That's fantastic. And, and actually I'm so glad you told that story because, and I, I won't, I wanted you to get back to launching and everything, but the thing about the Andre Des Shield story that you just told, I can see why you like that because that seems like you a person who has the training and the gravitas and whatever to like take their craft very seriously, but at the end of the day, you're there to entertain and get the job done, right? Like you don't, you're not so precious about your own self. Yeah. Which is really interesting.5 (39m 30s):No, and I mean it was, it was so important I think just because, you know, like everywhere you, everywhere you go like, you know, you don't always work at the same place and everybody's process and everybody's way of rehearsal or whatever's wildly, wildly different. And so I thought it was great because you know, you're not going to go always walk into some place where they're gonna coddle you or, or, or take the time or whatever, you know, like it's different.1 (39m 56s):The other thing is that like we, what I just hit me is that we've interviewed a ton of people and I'm trying to like think about like what does a conservatory do wrong is I think they forget that it's about entertainment. Like there becomes such a focus on process and inner work. What about the fucking entertainment value of like entertaining the audience? Like that goes out the window, which is why the shit is not funny most of the time. Cause it's like so serious, you're like, no, this is a fucking farse. Like make people laugh. Yeah. And it's like, I love that, that you're, you remind me of like an entertainer and I, I feel like I needed entertainment Conservatory.5 (40m 35s):Not, well I would say that, I mean I still use a lot of the training that I used at SMU like, like at Kitchen Dog. I mean this was founded by SMU grads. So you know, a lot of the doing table work and talking about what you want and all that kinda stuff like that is definitely part of what we do. But what was cool about Andre and I love and Des Shields with all my heart like was that you found a way to make your process work in his framework and, and he got results. Like the, our show was funny as hell, like in the singing was great, the dancing was great and it looked great cuz the Eckhart's did the costumes and all the sets and it felt like we were in a professional show.5 (41m 15s):Like it was, it was exciting and fun to do. So I thought it was a great way to kind of get ready for what it was gonna be like. Cuz I remember auditioning for the show and he was like, Where's your headshot? And we're like, nobody told us. And he's like, This is an audition, why don't you have, I don't understand why you don't have a headshot. And you're just, just like, oh God. Like, and it was embarrassing, you know? And then he was like, All right, I wanna do the, he's doing some improvy things in that in the thing and people couldn't get like, people were like, and he is like, just jump in man. And he was like fantastic. And you know, you get a call back and you're like, okay, I see how this works. So that was great. And we also had a lady named Eve Roberts, same thing. She was pretty brutal too in that, you know, if you weren't ready to go, she wasn't gonna baby you.5 (42m 1s):So she would just basically like you're oh, so you don't know your lines. Sit the fuck down, Sit down, who's ready to work? Cuz it was an audition class and she was a film actor with a lot of experience and it was auditions for both film and and stage. But she, if you weren't ready, but if you were ready, she would work you out. Like you would get a great workout, you'd leave with a great monologue. And so I was like, always be prepared for that, you know, cuz she will, she will, she will get you if you're not,2 (42m 27s):Honestly it really sounds like SMU did a much better job than most, most of what we hear about in terms of like getting real working actors and, and it's a tough thing. I I, you know, I don't really blame any school that doesn't, It's a tough thing if it's a working actor, then they're working, they don't have time to like commit to the, the, the school teaching schedule. But at the same time, like if you don't have any of that, then you are really, you're experiencing all that on the job. Which, you know, which is fine too. But it sounds like SMU did a better job of preparing for you, preparing you for a career.5 (42m 57s):I would say somewhat. Yeah. I mean there are things that I, you know, as, as I entered life because I was of the mind when I, when I graduated, I was really torn about whether or not to go to grad school or not. And I really didn't know cuz I really, I, and I still to this day have a split focus. Like I act and direct both in the, you know, in the theater. Like I do both. So I wasn't sure which way I wanted to go and you really had to decide to go to grad school. So I was like, you know, I'm gonna take a year off is what I decided. And I waited tables, lived life, you know, whatever, didn't even really do any theater or stuff.5 (43m 39s):But I tended to like work back at smu. So like they would have me come back and like I would sub in and cover like Del Moffitt who was the man who was the auditioner who auditioned me originally and his improv class. Like I'd come in and do cover him for a month if he went on sabbatical, you know, stuff like that. Or like, and I directed a couple main stages there. That was it. So I just decided end up, I started working more in Dallas and ended up just staying in Dallas. Dallas was not what I plan where I planned to stay. Like I kept in my mind, you know, thinking like I'm gonna move to Chicago. Like that was my dream was living in Chicago and because I guess I'm a tourist and stubborn and lazy, I don't know, sometimes you just start working and you're like, nah, just stay here.5 (44m 26s):I'm working and I can kind of do what I want. And then I got an agent and I was like, oh there's this part of the, you know, like I think in 95 or whatever, you know, cause I graduated in 91, so you just start working and then it's like, why do I want to go and start over? And it was just kind of a hard thing to do. Do I have regrets sometime about not doing Absolutely. Like sometimes I look back and I'm like, oh man. But as far as just preparing, I think it's just hard to get prepared. Cuz I think, like, I wish I left with like, and they're doing this now, which is great, but like left with more of like what's, you know, good, what's a good headshot? What's what, what, you know, how do you walking into a room, how do you handle it?5 (45m 7s):You know, like there's certain things that I feel like they could train and give you a little bit more experience, life experience in it. But I think they have some new, I know they have, I know they have film acting now, a little bit of film acting stuff there, which is always good just cuz that's how a lot of people make money.2 (45m 26s):I, I am, I'm happy to say because we've had, we've had this conversation so many times with people about the way that schools didn't prepare you. Somebody's been getting the message about this. My son is in high school and he goes to this like auxiliary performing arts program. It's like half day his regular high school and half day this and he does a seminar once a week on the business of music. And you know, what, what kind of jobs you're gonna have to do to keep, you know, to pay the rent while you're waiting between gigs, like is very brass tack. So, so the message has gotten through, thankfully.5 (45m 58s):Yeah, the business is important, man. That's how you survive. I mean, let's be real. I mean like that's, and it's not easy. Like if you're, like, if you're going to, I mean there's, sure there's two or three unicorns every so often, but for the most part you're gonna have to wait tables or cobble together bunch of odd jobs or cobble you know, like all these little, like, I'm a, I'm gonna do the Asop Fs in the, in the elementary schools for three weeks or whatever, you know, like, and how do you make rent? You know, like that's, it's not glamorous for sure.2 (46m 27s):So what was the journey from graduating to founding Kitchen Dog with your classmates?5 (46m 33s):I actually am not a founder. So Kitchen Dog was founded by five SMU MFA students who were in the MFA program when I was an undergrad. So I, so I ate that old, thank God, but they founded it in 90, did their first show in 91, which I saw it was above a, it was above a pawn shop in deep with no air conditioner in May. It was very hot and fantastic, you know, Maria Ford has his mud, it was great. And so I did my first show with them in 93. So a few years after I graduated, which Tim, my classmate directed, he had come back, he was in Minnesota at the time and then I've just worked with Kitchen Dog ever since.5 (47m 15s):So I became a company member in 96, started working for the company as like an admin producer type person in 99 and then became co-artistic director when the founding ad left in 2005. So I've been here forever. I do not have children. I say that Kitchen dog is my grown mean child. You're1 (47m 36s):Grown mean, did you say mean?5 (47m 38s):Yeah, I did say mean sometimes. Yeah, sometimes it's very, you know, temperamental.1 (47m 42s):Yeah, that's fine. That's, I mean, yeah, it's probably still better than kids, I'm just saying. Anyway. I mean, I don't have any, so, but okay, so what do you, this is what I always wanna ask people who have longstanding careers in theater and especially when they are co-artistic director or artistic director, why do you do it and why do you love it?5 (48m 6s):That's a really good question. I mean, it varies from time to time. I mean, I think that I, you know, Kitchen Dog has one of its tenants has always been about asking, you know, we do, we do, I hate the word edgy, but we do edgier plays, we do plays that are very much talking about the world around us. Challenging, you know, and we're in Texas, it's, you know, sort of purple state now, kind of exciting purple parts. At least Dallas is hopefully this election goes that way. So, you know, it's, we, I feel like our place in the Dallas Zeki is important because, you know, we're not doing, there are a lot of people that do traditional plays and do them well, you know, like straight ahead, you know, musicals or you know, the odd couple or whatever.5 (48m 53s):Notice this gesture, the odd couple and doing great. But we do new, we do newer plays. We're a founding member of the National New Play Network. And so that's kind of kept it relevant and kept it exciting. The work exciting to me. I love working with new plays and new ideas and we have a company of artists, some of which went to smu and I, I think I've stayed here this long because, you know, I feel like I can, I, I do, I am able to do the kind of work I wanna do. I'm able to choose the plays I wanna be in or direct and I feel like they're important for my community. And when it becomes that, it's not that then I need to leave or step downs is my feeling.5 (49m 37s):I mean, you know. Yeah, yeah. I dunno.2 (49m 40s):Yeah. So many people say that, that they, that they, they keep their allegiances to theater companies because it's, it's often the work that they really, you know, f feel moves them is very, you know, is very inspiring. But then you also got the opportunity to do a very good part in something that was commercial, which is breaking bad. So could you tell us anything about your, how you were born into that project?5 (50m 8s):Sure, sure. The, I, you know, I got an agent, did you know, I had no experience, no resume. So you did the couple of walk on, you know, like, I'm in the back of a bank commercial, fantastic. Or whatever, $50. I love it. Did that and Lucked into Robert Altman. Came to town and did a very terrible movie called Dr. T and the Women. But it was a fantastic experience and I was one of the nurses and I was on set every day pretty much. So he's told me, he told us, he's like, I'll make you a lot of money. You're not gonna be seen a lot. You'll be here every day. And we got out by five and I was able to do plays at night. Like it was, it was Chef's kiss the best, like you just kind of learned from the master.5 (50m 52s):Like he is a, he truly was a master god rest his soul. Anyway, so I started auditioning more, did some walkers cuz everybody does did Walker back in the time Walker, Texas Ranger. It's like1 (51m 2s):The er we'd all did the ER and the early ion in Chicago. That was my so walker, same thing. I love a good walker by the way, Texas Ranger.5 (51m 13s):So ridiculous. Yeah, I think one of my lines in one of the episodes I was in was like, you won't put this on your lighty friends tabs. Like it was so country. Anyway, it terrible. But so with the breaking bad thing, I, I read the sides. It actually was the, the person who was casting locals or whatever, not locals cuz it was shooting in New Mexico, but it was a woman in Tony Cobb Brock who was casting in Dallas. And so we got the sides, I got the call to come in and audition for it. I read it and I was like, you know, and this is the story I've told a lot, but it's the truth, which is I read it and I was like, It's gonna be a blonde, big boobs woman. Like that's what I thought when I read it, I was like, it's gonna be this.5 (51m 54s):That's what it's gonna be. Cuz there were a lot of jokes about boobs and you're killing me with that booty. Like there was a lot more to that scene. My first scene there was a lot more. So I was like, whatever. I was like, it's not, I'm, you know, I'm a plus size lady, I have brown hair, I have a, you know, deep voice. Like, oh well. So I was like, why do I feel good in, So I just wore, I remember I wore this Betsy Johnson dress that, cause I was kind of into Rocky Billy Swing at the time. This Betsy Johnson little dress with apples was real sexy and this little shrug and had my hair kind of fancy. And I was like, I'm wearing this. I don't give a shit. So I, I was like, I feel good in this, Who cares? So I walked in and there were a bunch of ladies that were blonde and had professional lady outfits on and I was like, Oh shit, I should have dressed like a secretary.5 (52m 38s):Why did I dress like this? Oh damn. And I was like, Okay, well whatever. It's, you're not, you're not gonna book this so who cares? Went in, I had a great audition, made Tony laugh and you know, it was what it was. And so I went away and I didn't hear anything for a while. So I was like, oh, I didn't book that. Oh well. And I was sitting in an audition for some commercial and I never booked commercials. I just don't, cuz I look one way and then my voice comes out and they're like, Oh, you can't play the young mom because you seem like Jeanine Garofalo or something. So your bite and smile is scary, ma'am. So I was waiting in the, waiting in the waiting room and my agent calls, or I got paged or, you know, cause it was that so long ago.5 (53m 23s):And she was like, Can you be on a plane in three hours? And luckily I wasn't doing a play at the time. And I said, Yeah, I can. And she's like, Well you booked it. You, you should go and so you should go home and pack and go to Southwests. And that was the story. And so I get there and you know, whatever found out that, you know, it's Bob and Kirk and start losing my mind and all this stuff. But what's crazy is, it's a crazy story. And then on when in season four finale, breaking bad spoiler alert, if you haven't watched it, but you're,2 (53m 52s):You're late if you haven't watched it. Like5 (53m 54s):It's, that's2 (53m 55s):On you.5 (53m 56s):Please watch it cuz I need, Mama needs to keep getting residuals. Cause she's, you know, not Yeah. But that final episode where I have a great scene with Brian Cranston. There's a, there was a podcast, Insider podcast, which I wasn't aware of, but they talked to Vince about, you know, Oh, who's she and how did you cast her? You know, cause this was my first like, actual scene, you know, like, boy, I don't, I have more than two lines. And he tells the story of like, and this, I just love this story, which is like, basically he had seen a lot of people that he didn't think was right. He wanted something. They kept showing him the same type and he was like, no, I I it needs to be something different. He's a different kind of guy. I wanted somebody who'd challenge him, you know, different looking. And the casting woman who had Kira, I can't remember her last name, but she had, you know, I'd auditioned for her a few times, been put on tape.5 (54m 43s):I don't know that it necessarily booked anything. She's like, Well there is this one girl, I think she's great. She's probably not right. I physically, she's prob I don't think she's right, but do you wanna see? And so he showed her and he was like, That's exactly what I want. And then I booked it. And so it's crazy. So you just never know. I mean I think that's the, I think that's the walkaway.1 (55m 2s):Okay. This is the,5 (55m 3s):This1 (55m 4s):Is the craziest thing. This is crazy. So I booked a show in New Mexico called Perpetual Grace. Kira cast it and Kira showed me to Steve Conrad, who's the showrunner in James Whitaker who was directing the episode. I looked nothing like the other people. My agent Casey called me and said, Can you get on a plane in three hours? You5 (55m 29s):Gonna1 (55m 29s):New Mexico? Same casting director, St. Kira,2 (55m 34s):The Kira, all these people, Kira,1 (55m 38s):Kira talk5 (55m 39s):Me. Well, and it's like that thing, you know, like you, you know, I think that's always the big takeaway, right? Is, is, and you know, and I, I think I read this not to feel like I'm fucking namedropping I'm not. But like, I read this I think in Brian's book too. But like, the thing is, is like all you can do is just like, just, they're calling you in for a reason. So you just have to say like, what is it in me? What's unique about me? That's this role? And lean into it and go for it in that regard because that's all you got. Like as soon as you start and I find myself doing this, I have to keep reminding myself, you know, to do this. Which is I'll read something like, oh it's this and try to play to what I think it is. Versus like, no, what is it in me?5 (56m 19s):That's this. And that's the thing I book when I do that, when I try to do the other other thing, you know? Totally. And start getting your own head.2 (56m 28s):The time5 (56m 28s):On here, God,2 (56m 30s):By the way, regarding name dropping, I never understand why anybody gets upset about that. I, it's like, well they're people that, you know, the people that you work with, they're people in your life. I mean, you're just saying their name. It's, it's not like you're cloud chasing. But anyway, that, that's insight. Girl. Walk me back to this day where you take three hours to get on the airplane. I wanna know how fast did you have to rush home to pack? What did you do? Did you have enough stuff? What was it like when you were on the airplane? Did you order a drink because you felt so fancy? Tell us everything.5 (56m 57s):Well, all I know is I had a bag and I got, I ran home, I had a roommate at the time, thank God. And I just said, Can you feed my cat? Cause I, I had a cat at the time. I was like, Please feed Loretta. And so I got this bag and just threw, it was really like, just stuff thrown in and I was like, do I need to bring the dress and shoes that I wore that, So I brought the whole outfit cuz I was like, cuz the jobs, some of the jobs I'd been on, I had to bring my own shit or whatever, you know, you have to bring your whole wardrobe and be like, Oh you want none of this? Great, I'll put it all back in my car. So I just threw that in there and then I just threw some random, I don't even know what I packed and, you know, ran to the airport, got on the plane, I think I did have a jack and coat cuz I was just like, I'm so freaked out in the plane.5 (57m 43s):Of course you know, you're going to New Mexico, so you're going over those mountains and you're just like, okay, I'm gonna die also great, but I don't wanna die. I just booked a big job or whatever. And then I remember the landing and getting in the van thing and they took me straight to the hotel and I, I remember opening cuz they, back then they, you know, you would get like your sides in an envelope like that in the, in the later years. That shit never, you never got printed stuff ever because people would steal it and whatever else. So I remember pulling it out and seeing Bob's name and freaking, oh, cause I was a huge Mr.5 (58m 23s):Show fan and I was just like, oh my god, oh my god. And I just remember calling my fr I have a friend Aaron Ginsburg, who's kind of an LA Hollywood dude or whatever. And I was like, Oh my god, oh my god. And he was like, Thanks for this spoiler. And I was like, Oh shit, I'm not supposed to tell people. And I was like, but I'm freaking out. And he was like, No, no, it's okay. I will tell no one. I was like, don't tell anyone I don't wanna get fired. But yeah, so I just remember sitting there and freaking out and trying to look at my lines and, you know, what am I, oh God. And then going there with my clo my little bag of dresses or whatever and they're like, we don't want any of this crap.2 (58m 57s):They're like, this is a high budget show. We got, we got costumes covered5 (59m 1s):Back then. I don't, I know back then, I don't know if they were that high budget, but it was interesting to me. The one thing is, is just how involved the showrunners of that show Peter and or Vince at the time, and then later Peter and Vince. But like, they have a color palette they have where they want the characters to go. Like I had, you know, that it got really paired down. I ended up having like, you know, just a few lines. But they took so many pictures, different outfits, different setups and like different color tones, like just setting what they wanted for my character. And I was like, holy shit or whatever. And they were, everybody was so, and everybody was so nice and friendly.5 (59m 43s):It's really remember your name to hear1 (59m 45s):And I'm glad you talked about it. Oh, I'm gonna, I'm, I'm in the rainstorm. So sorry. But like, it's so weird to be, I'm in the Midwest right now and I live in la so coming back here, I'm like, what is that noise? It's fucking fucked up and it's the fucking rain. Anyway, so what is so beautiful about this story to me is that even if we feel small, right? Like whatever, these people who are creating these iconic shows have such vision. There is literally no small character. Like these are their children and they have arcs they have. So it just makes me appreciate as creators, as artists, how much time love, energy goes into characters and storylines.1 (1h 0m 31s):And then we see maybe, maybe if we're lucky one eighth of it, but just know like the shit matters. Right? Like a5 (1h 0m 39s):Thousand percent. And that's the same thing with like, the same thing with Robert Altman. I mean like we were, you know, he, you know, I got to be part of one of those ma his signature long tracking shots, right? He, he would walk in the room and be like, Okay, what's going on in here? So what are you guys doing? What are you, what's happening? And I was like, Well where this, that? And he's like, Great, keep that. And when I come across I want you to be in this moment. You know? So like, and he's like, Teen are things like where he's following on my shoulder and Tina, I need you to do this and this is what's happening. And I've tried, I want, I'm just gonna think about some lines, just throw these out. You know? It was just, I don't know. And that's the same thing with Vince and with Peter. Like, they were really like, what is she wearing? Why is she wearing this? Where are you? Like, you know, what's going on?5 (1h 1m 19s):And like they were like, the scripts were so good. It was like you had to be letter perfect. Barry's like, oh it's a lot of improv. And I'm like, no,1 (1h 1m 26s):No. But2 (1h 1m 26s):Also it sounded like theater, the attention to, to detail and the, and the sort of like the vision and the way that, and you, that just comes through in the best series. The A tours you, you know, that they've thought about and5 (1h 1m 38s):They all love2 (1h 1m 38s):Theater, right? Yeah, right.5 (1h 1m 39s):They all love theater. They all do.2 (1h 1m 41s):So a bit ago you said something about how the, like lustiness that Saul, you know, Jimmy feels for Francesca didn't, you know, necessarily a lot of that didn't necessarily make it into at least your first episode, but it got revisited and Better Call Saul. And I really appreciated that because I was like, Oh yeah, I, I would've wanted to see more of that. You know, I, I wanted to see more of that like lush stage dynamic. But you had,5

This week on And the Runner-Up Is, Kevin welcomes Oscars obsessive Baby Clyde to discuss the 1958 Oscar race for Best Actress, where Susan Hayward won for her performance in "I Want to Live!," beating Deborah Kerr in "Separate Tables," Shirley MacLaine in "Some Came Running," Rosalind Russell in "Auntie Mame," and Elizabeth Taylor in "Cat on a Hot Tin Roof." We discuss all of these nominated performances and determine who we think was the runner-up to Hayward. 0:00 - 13:14 - Introduction 13:15 - 31:15 - Deborah Kerr 31:16 - 51:11 - Shirley MacLaine 51:12 - 1:12:08 - Rosalind Russell 1:12:09 - 1:34:32 - Elizabeth Taylor 1:34:33 - 1:51:11 - Susan Hayward 1:51:12 - 2:26:32 - Why Susan Hayward won / Twitter questions 2:26:33 - 2:33:01 - Who was the runner-up? Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Baby Clyde on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

MOVIE REVIEW! ⭐️Welcome back to this weeks episode of Having A Ball Podcast!   We are discussing the 1974 musical ‘Mame' starring Lucille Ball. It is based off the 1966 Broadway musical of the same name and based off the 1955 book Auntie Mame by Patrick Dennis. In part one we chat about the first half of this movie. We discuss some of the reviews and criticism this movie received and still receives. This musical showcase the talents of Bea Arthur, Robert Preston, Kirby Furlong and Jane Connell  just to name a few.  What are your thoughts on this movie? Have you seen it? Do you like it?  PLEASE RATE AND REVIEW OUR PODCAST  ••• Connect with all things 'Having A Ball' ••• YouTube Channel: https://www.youtube.com/channel/UCDXuCxbfhUNJzJ_8wMfMD_w/featured Having A Ball Podcast on Facebook: https://www.facebook.com/Having-a-Ball-Podcast-103319291812682 Having A Ball Podcast on Instagram: https://www.instagram.com/havingaballpod/ Erika on Instagram: https://www.instagram.com/erikamurrietta/ Erika on Facebook: https://www.facebook.com/erika.murrietta.3 Erika on Twitter: https://twitter.com/erikamurrietta Ziva on Facebook: https://www.facebook.com/luciana.ehrlinger Ziva on Instagram: https://www.instagram.com/ziva_e/ Email: havingaballpod@gmail.com ••• Photos: CBS/ Getty/ Desilu Produced by: Erika Murrietta Music provided by: Feather Duster via SilvermanSound https://www.silvermansound.com/free-music/feather-dust

Today while watching msnbc I was inspired by the energy of Jenifer Lewis as it reminded me of Auntie Mame. Many have tried to capture the essence of Mame Dennis but so far only Roz Russel 1907-1976 has accomplished that feat. Who's next ? --- Send in a voice message: https://anchor.fm/drzeusfilmpodcast/message Support this podcast: https://anchor.fm/drzeusfilmpodcast/support

The hostage nobody wants is none other than Lwaxana Troi in Majel Barrett's triumphant return to the role her husband Gene described as the Auntie Mame of the Galaxy. The Ferengi don't put on too good a look here, with Damon Tog capturing mother and daughter Troi and chess club boy toy Riker before any nookie can occur. Lwaxana distracts with the Ferengi version of oral while Wesley Crusher trains for his own oral exam, if you know what I mean. Everything works out in the end when Picard professes his love of his big ole warp engines and Wesley gets promoted to full-on ensign, much to our very special Canadian guest correspondent Shelly Coley-Donohue. Jimmie G has found a kindred spirit in Shelly's distaste for the young and no longer "acting: ensign. Get in touch with us on Twitter @ReEngageTNG!   Host:  Kate Jaeger (@jaegerlicious on Twitter and IG), Panel: Erik Gratton (@erikfallsdown on Twitter & IG),  Greg Tito (@gregtito on Twitter, @greg_tito on IG), Jimmie G (@thejimmieg on IG & Twitter) and Shelly Coley-Donohue Audio Editor: Greg Tito (@gregtito on Twitter, @greg_tito on IG) Logo artwork: @mojojojo_97 on Twitter, mojo97.com Theme music: Ryan Marth   Next up is the s3e25 "Transfigurations" hosted by Erik!

Jen Martín was born and raised in Southeast Los Angeles.  At the age of 12, while watching the technicolor classic Auntie Mame (1958), Jen realized the limitless stories that can be told through costume design.  Jen's endless curiosity has led to immersion in music subcultures, art history, Almodovar films, and has traveled to Europe, Asia, and extensively throughout Latin America.  All of these experiences have fed into her unique worldview and eclectic style. ​While studying sewing and garment construction in college, Jen successfully began her own online vintage clothing shop. She has shared her ability to date any garment at a glance through her work as a 705 Union Costumer on period films including Carol, Dunkirk, Vice, Hairspray Live, Lovecraft Country and Blonde. Some of Jen's own contemporary costume design projects include those for Netflix, HBO, BET, Dazed Digital and Nowness, with several going on to showcase at Cannes and Sundance Film Festival.

Join John, DanO, and the lady who thought Old Glory was a hookup spot at the mall, Latina Turner, as they try and celebrate this year's 4th of July in spite of it all.  Bartender Kirk stops by, thank god, with a delicious but hazardous holiday cocktail recipe.  Nude beaches, bitching, and more is all in store in this week's explosive episode.   Wave your Holiday Fag with them this year, won't you?   Auntie Mame:  https://www.youtube.com/watch?v=2gsRMtl70aQEmail us!  HomoLiciousPod@gmail.comSexy Bartender Kirk:  Instagram:  bythewaykirby. Facebook: Kirby Clever PigPlease register to vote, and VOTE!:  https://www.usa.gov/register-to-vote 

"Life is a banquet and most poor suckers are starving to death!"  We watched Auntie Mame (1958) with our friend Darren Elms and someone get us a Dr. Pepper!  There's just something about a glamorous woman of a certain age that gay boys just gravitate towards. We all want to be as fabulous as Auntie Mame someday, even though we may be more like Agnes Gooch.  Rosalind Russel's iconic performance as Mame is truly living life like a gay man, or a drag queen.  Either way she is everything we strive to be and more, while we're all just little Patrick Dennis or poor Agnes Gooch just trying to keep up. Thanks for listening and don't forget to subscribe, rate and review us on Apple Podcasts! www.patreon.com/moviesthatmadeusgay Facebook/Instagram: @moviesthatmadeusgay Twitter: @MTMUGPod Scott Youngbauer: Twitter @oscarscott / Instagram @scottyoungballer Peter Lozano: Twitter/Instagram @peterlasagna

For as long as he can remember, Cooper Koch has been a storyteller. Usually making people laugh, typically as the butt of most of his own jokes. Professionally, Cooper is also a storyteller. As the founder of PR Firm Cooper Smith Agency, he is trusted with developing and telling the stories of his clients. He is also the Founder and Publisher of He Said Dallas, an online source of things to do, see, buy, enjoy, etc. in Dallas…all from a witty gay perspective, and storyteller on his blog CoopedUp.com and his daily Facebook Live show (weekdays, 4:30 on Facebook). He previously contributed regularly to Huffington Post's Queer Voices section.In 2012, Cooper and his family were featured in a national Father's Day marketing campaign for JCPenney that triggered a boycott from the "Million Moms" and worldwide news coverage of the first-of-its-kind ad. It was the first ever mainstream American ad featuring a real life gay family. 

"He was their inspiration. He made their lives extraordinary." Robin Williams is Auntie Mame for straight boys! It's got mavericks in a boarding school and just a scene where a boy gets paddled, so you'd think DEAD POETS SOCIETY would score well, wouldn't you? (You'd think wrong) But what's undeniably right is our guest this week: writer and comedian Amanda Sitko! (Brochmere, co-host: Let's Do This)Follow Amanda on Twitter: @AmandaSitkoFollow Amanda on Instagram: @sitkoFollow us on Twitter and Instagram: @TwoOldQueensFollow Mark on Letterbox: @markrennieEmail us: TwoOldQueens@gmail.comWe've got a Patreon! https://www.patreon.com/TwoOldQueensWE'VE GOT MERCH! CAN YOU IMAGINE? Click on this link! https://www.teepublic.com/stores/two-old-queens?ref_id=12950Or go to TeePublic.com and search for Two Old Queens!Music by Danny CohenArtwork by Conrad Shin See acast.com/privacy for privacy and opt-out information.

A Broadway comedy turned into a very funny movie. Rosalind Russell is amazing as the lover of life in Auntie Mame (1958) The Coyote's Tale, a noir mystery by John Cornelison is available on Amazon in paperback and on Kindle Support the show with a purchase from Merch SPREAD THE WORD! If you enjoyed this episode head on over to iTunes and kindly leave us a rating, a review, and subscribe! Click here to subscribe via Apple Podcast Find us at: Libsyn Page Ganna Amazon Music Spotify Radiodotcom We would love to get your feedback! Email jec@classicmovierev.com Read more at classicmovierev.com

When it comes to film characters, author and commentator Charlie Jane Anders found that she had to took way back to a movie she loved as a child, AUNTIE MAME (1958), to name someone that made her feel seen in an aspirational way. But in that special FEELING SEEN way, the search for a character to identify with ends up revealing a whole slew of exuberant women who aren't afraid to live their big, colorful lives -- women like Harley Quinn, Leslie Knope, and the 13th Doctor. For one quick thing this week, Jordan's got something stuck in her craw regarding the franchise-fan response to the new TEXAS CHAINSAW movie.***Follow us on Twitter, Instagram, and FacebookWith Jordan Crucchiola and Charlie Jane Anders

Life is a banquet! This week, Peaches and Michael intend to live, live, LIVE as they celebrate 1958's AUNTIE MAME! In addition to discussing the undeniable might of Rosalind Russell, our hosts delve into the movie's messaging about the power of chosen family. Joining the conversation is drag superstar and theater icon Charles Busch, who offers stories of a lifetime of Mame love, as well as his time playing the character on stage. Then, acclaimed screenwriter and producer Lotti Pharriss Knowles stops by to share how the film gave her a new life perspective when she needed it most, and also give pointers on what it means to be an eccentric Auntie. From naked schools to Gooch's night out, this episode has it all! Go!