POPULARITY
On this episode, Damali discusses your messages with Attorney, Lisa Chaney. Ms. Chaney’s legal focus is on corporate and real estate finance and private equity fund formation. She received her B.A. in Economics from Fordham University in 2002 and received her J.D. degree from Fordham University, School of Law in 2005. Tune in to hear the discussion!!
What is KCTC? Join us for a conversation with Lisa Chaney from Greenbush to find out the ins and outs of the KCTC survey. For more information go to www.kctcdata.org or email us at KPCTeam@wichita.edu.
England, 1890 – Barely 5 feet tall on his tiptoes, 30 year-old Jimmy was a pen pal of 40 year-old Robert Louis Stevenson, the famous author of Treasure Island, during the final years of Stevenson's life when he lived on the island of Samoa. The two never met, but if they had, they would doubtless have played cricket together in the little village of Stanway in Gloucestershire. In September, 1921, one of the most famous men in the world, 33 year-old Charlie Chaplin, traveled to London in the hope of meeting Jimmy, now 61 years old. According to historian Lisa Chaney, “Upon his arrival, central London came almost to a standstill, as traffic was blocked all the way from Waterloo station to the Ritz on Picadilly, where he was staying. Everywhere Chaplin went, he was mobbed by adoring crowds.” Chaplin achieved his goal of meeting Jimmy by contacting Ed Lucas, one of the group of buddies with whom Jimmy played cricket. At the end of their evening together at the Garrick Club in London, Jimmy wrote to his friend, Cynthia Asquith, about his dinner with the great Charlie Chaplin. “He has a rather charming speaking voice, and a brain withal. A very forceful creature, and likeable. The police who are put on to guard him all produce their autograph books for him to sign.”When Jimmy visited Stanway to play cricket, he was the guest of Herbert and Cynthia Asquith. (Herbert was the son of the British Prime Minister and Cynthia would later become a famous author of ghost stories.) In return for their kindness to him and his cricketing buddies over the years, Jimmy built a pavilion on the cricket grounds of Stanway, where it has been in use for nearly 100 years. Who, exactly, were these cricketing buddies of Jimmy?They called themselves the Allah Akbar-ies under the mistaken belief that “Allah akbar” meant “Heaven help us” in Arabic. This was an odd mistake to make, considering that these men were known for their words. The Allah Akbar-ies included:Rudyard Kipling, The Jungle Book Arthur Conan Doyle, Sherlock Holmes P. G. Wodehouse, Jeeves and Wooster Jerome K. Jerome, Three Men in a Boat A. A. Milne, Winnie the Pooh G.K. Chesterton – Father Brown And then of course there was E. V. (Ed) Lucas, the author of more than 150 books, including one of Indiana Beagle's favorites, If Dogs Could Write: A Second Canine Miscellany (1929) The group also included 10 more writers of slightly lesser acclaim. Spectators at these cricket matches included Jimmy's neighbor and lifelong friend, George Bernard Shaw, along with the ancient Thomas Hardy, (Far from the Madding Crowd and Tess of the d'Urbervilles.) And five-foot Jimmy? He was of course J.M. Barrie, the author of Peter Pan. And now you know why New York publisher Charles Scribner traveled to England to sit on a bench and watch a cricket match in the tiny village of Stanway. Scribner never forgot that day. Wouldn't it be fun to make a movie about all this? Can you imagine their conversations? You'll be pleased to know the tradition of Stanway village lives on at Wizard Academy.We have Americanized it, of course, but I think Jimmy would approve. The Lost Boys are a group of entrepreneurs who gather once a year to play bocce ball at Wizard Academy. It is a secret society. Their names are never published and group photos are never taken. The House of the Lost Boys will be the third and final student mansion on the campus of Wizard Academy. Its six guest rooms will increase our on-site capacity to 24 students. And when we finally build Bilbo Baggins House in the hillside beneath the Spence Diamond Pavilion, we'll have room for 25. Wizard Academy is a special place where busy people come to charge their batteries. Sometimes it feels a little like Neverland. Thanks for being part of it. Roy H. Williams
As a reader, biography offers not simply an opportunity to read about the life of another, but also an invitation to ponder the choices that are available in life, the choices that comprise a life. Towards the end of Coco Chanel: An Intimate Life(Penguin, 2011) biographer Lisa Chaney allows her subject to speak for herself. Chanel writes: ‘Today, alone in the sunshine and snow… I shall continue, without husband, without children, without grandchildren, without these delightful illusions… I am not a heroine. But I have chosen the person I wanted to be.' Chanel's is a life that, all these years later, still reads as radical, which puts into perspective how terribly shocking it must have appeared in the early 20th century. Chaney has chosen an unusually challenging subject. Mired in myths, some of them of her own devising, the image of Chanel that has been passed down to us is clouded at best and, as Chaney acknowledges, quoting L.P. Hartley's statement in The Go-Between, ‘The past is a foreign country. They do things differently there.' The story of Chanel's life emerges in more muted tones than one might expect, with gray areas aplenty, from which it is unreasonable to demand clarity or place judgment. And yet Coco Chanel remains an uncompromising account. Chaney doesn't ignore Chanel's capacity for storytelling but, rather, explores the meanings of her stories, their unrealities, and the significance of the details that Chanel chose to omit. She doesn't side-step the controversies surrounding Chanel's life during the occupation of Paris, but instead grapples head-on with the moral ambiguities and compromises that occurred during the Occupation and in Vichy France. What emerges is an unflinching portrait of a complex, intelligent, unapologetic, incredibly hard working woman. Learn more about your ad choices. Visit megaphone.fm/adchoices
As a reader, biography offers not simply an opportunity to read about the life of another, but also an invitation to ponder the choices that are available in life, the choices that comprise a life. Towards the end of Coco Chanel: An Intimate Life(Penguin, 2011) biographer Lisa Chaney allows her subject to speak for herself. Chanel writes: ‘Today, alone in the sunshine and snow… I shall continue, without husband, without children, without grandchildren, without these delightful illusions… I am not a heroine. But I have chosen the person I wanted to be.’ Chanel’s is a life that, all these years later, still reads as radical, which puts into perspective how terribly shocking it must have appeared in the early 20th century. Chaney has chosen an unusually challenging subject. Mired in myths, some of them of her own devising, the image of Chanel that has been passed down to us is clouded at best and, as Chaney acknowledges, quoting L.P. Hartley’s statement in The Go-Between, ‘The past is a foreign country. They do things differently there.’ The story of Chanel’s life emerges in more muted tones than one might expect, with gray areas aplenty, from which it is unreasonable to demand clarity or place judgment. And yet Coco Chanel remains an uncompromising account. Chaney doesn’t ignore Chanel’s capacity for storytelling but, rather, explores the meanings of her stories, their unrealities, and the significance of the details that Chanel chose to omit. She doesn’t side-step the controversies surrounding Chanel’s life during the occupation of Paris, but instead grapples head-on with the moral ambiguities and compromises that occurred during the Occupation and in Vichy France. What emerges is an unflinching portrait of a complex, intelligent, unapologetic, incredibly hard working woman. Learn more about your ad choices. Visit megaphone.fm/adchoices
As a reader, biography offers not simply an opportunity to read about the life of another, but also an invitation to ponder the choices that are available in life, the choices that comprise a life. Towards the end of Coco Chanel: An Intimate Life(Penguin, 2011) biographer Lisa Chaney allows her subject to speak for herself. Chanel writes: ‘Today, alone in the sunshine and snow… I shall continue, without husband, without children, without grandchildren, without these delightful illusions… I am not a heroine. But I have chosen the person I wanted to be.’ Chanel’s is a life that, all these years later, still reads as radical, which puts into perspective how terribly shocking it must have appeared in the early 20th century. Chaney has chosen an unusually challenging subject. Mired in myths, some of them of her own devising, the image of Chanel that has been passed down to us is clouded at best and, as Chaney acknowledges, quoting L.P. Hartley’s statement in The Go-Between, ‘The past is a foreign country. They do things differently there.’ The story of Chanel’s life emerges in more muted tones than one might expect, with gray areas aplenty, from which it is unreasonable to demand clarity or place judgment. And yet Coco Chanel remains an uncompromising account. Chaney doesn’t ignore Chanel’s capacity for storytelling but, rather, explores the meanings of her stories, their unrealities, and the significance of the details that Chanel chose to omit. She doesn’t side-step the controversies surrounding Chanel’s life during the occupation of Paris, but instead grapples head-on with the moral ambiguities and compromises that occurred during the Occupation and in Vichy France. What emerges is an unflinching portrait of a complex, intelligent, unapologetic, incredibly hard working woman. Learn more about your ad choices. Visit megaphone.fm/adchoices
As a reader, biography offers not simply an opportunity to read about the life of another, but also an invitation to ponder the choices that are available in life, the choices that comprise a life. Towards the end of Coco Chanel: An Intimate Life(Penguin, 2011) biographer Lisa Chaney allows her subject to speak for herself. Chanel writes: ‘Today, alone in the sunshine and snow… I shall continue, without husband, without children, without grandchildren, without these delightful illusions… I am not a heroine. But I have chosen the person I wanted to be.’ Chanel’s is a life that, all these years later, still reads as radical, which puts into perspective how terribly shocking it must have appeared in the early 20th century. Chaney has chosen an unusually challenging subject. Mired in myths, some of them of her own devising, the image of Chanel that has been passed down to us is clouded at best and, as Chaney acknowledges, quoting L.P. Hartley’s statement in The Go-Between, ‘The past is a foreign country. They do things differently there.’ The story of Chanel’s life emerges in more muted tones than one might expect, with gray areas aplenty, from which it is unreasonable to demand clarity or place judgment. And yet Coco Chanel remains an uncompromising account. Chaney doesn’t ignore Chanel’s capacity for storytelling but, rather, explores the meanings of her stories, their unrealities, and the significance of the details that Chanel chose to omit. She doesn’t side-step the controversies surrounding Chanel’s life during the occupation of Paris, but instead grapples head-on with the moral ambiguities and compromises that occurred during the Occupation and in Vichy France. What emerges is an unflinching portrait of a complex, intelligent, unapologetic, incredibly hard working woman. Learn more about your ad choices. Visit megaphone.fm/adchoices
As a reader, biography offers not simply an opportunity to read about the life of another, but also an invitation to ponder the choices that are available in life, the choices that comprise a life. Towards the end of Coco Chanel: An Intimate Life(Penguin, 2011) biographer Lisa Chaney allows her subject to speak for herself. Chanel writes: ‘Today, alone in the sunshine and snow… I shall continue, without husband, without children, without grandchildren, without these delightful illusions… I am not a heroine. But I have chosen the person I wanted to be.’ Chanel’s is a life that, all these years later, still reads as radical, which puts into perspective how terribly shocking it must have appeared in the early 20th century. Chaney has chosen an unusually challenging subject. Mired in myths, some of them of her own devising, the image of Chanel that has been passed down to us is clouded at best and, as Chaney acknowledges, quoting L.P. Hartley’s statement in The Go-Between, ‘The past is a foreign country. They do things differently there.’ The story of Chanel’s life emerges in more muted tones than one might expect, with gray areas aplenty, from which it is unreasonable to demand clarity or place judgment. And yet Coco Chanel remains an uncompromising account. Chaney doesn’t ignore Chanel’s capacity for storytelling but, rather, explores the meanings of her stories, their unrealities, and the significance of the details that Chanel chose to omit. She doesn’t side-step the controversies surrounding Chanel’s life during the occupation of Paris, but instead grapples head-on with the moral ambiguities and compromises that occurred during the Occupation and in Vichy France. What emerges is an unflinching portrait of a complex, intelligent, unapologetic, incredibly hard working woman. Learn more about your ad choices. Visit megaphone.fm/adchoices
As a reader, biography offers not simply an opportunity to read about the life of another, but also an invitation to ponder the choices that are available in life, the choices that comprise a life. Towards the end of Coco Chanel: An Intimate Life(Penguin, 2011) biographer Lisa Chaney allows her subject to speak for herself. Chanel writes: ‘Today, alone in the sunshine and snow… I shall continue, without husband, without children, without grandchildren, without these delightful illusions… I am not a heroine. But I have chosen the person I wanted to be.’ Chanel’s is a life that, all these years later, still reads as radical, which puts into perspective how terribly shocking it must have appeared in the early 20th century. Chaney has chosen an unusually challenging subject. Mired in myths, some of them of her own devising, the image of Chanel that has been passed down to us is clouded at best and, as Chaney acknowledges, quoting L.P. Hartley’s statement in The Go-Between, ‘The past is a foreign country. They do things differently there.’ The story of Chanel’s life emerges in more muted tones than one might expect, with gray areas aplenty, from which it is unreasonable to demand clarity or place judgment. And yet Coco Chanel remains an uncompromising account. Chaney doesn’t ignore Chanel’s capacity for storytelling but, rather, explores the meanings of her stories, their unrealities, and the significance of the details that Chanel chose to omit. She doesn’t side-step the controversies surrounding Chanel’s life during the occupation of Paris, but instead grapples head-on with the moral ambiguities and compromises that occurred during the Occupation and in Vichy France. What emerges is an unflinching portrait of a complex, intelligent, unapologetic, incredibly hard working woman. Learn more about your ad choices. Visit megaphone.fm/adchoices
Coco Chanel an Intimate Life written by Lisa Chaney. As part of our review series, Brandie McCallum and I share our thoughts, our opinions, and we try not to offend anyone. Listen up!
© 2020-2025 Ivy Podcast Discovery LLC
