Happy Birthday, Fred Rogers – Style Icon

Fred Rogers would be 85 today.  He was the kindest, most gentle adult that most kids my age every knew.  He spoke to us as people and inspired us to think about our feelings.  He taught us empathy and compassion.  He changed our lives and the world is a better place because of him.  Ladies and gentlemen, Fred Rogers.  Style Icon.

NAME: Fred McFeely Rogers
OCCUPATION: Minister, Television Personality
BIRTH DATE: March 20, 1928
DEATH DATE: February 27, 2003
EDUCATION: Rollins College, Pittsburgh Theological Seminary
PLACE OF BIRTH: Latrobe, Pennsylvania
PLACE OF DEATH: Pittsburgh, Pennsylvania
AKA: Mister Rogers

BEST KNOWN FOR: The much-loved host of the public television show, Mr. Rogers’ Neighborhood, which ran on PBS from 1968 to 2001.

Fred McFeely Rogers (March 20, 1928 – February 27, 2003) was an American educator, Presbyterian minister, songwriter, author, and television host. Rogers was most famous for creating and hosting Mister Rogers’ Neighborhood (1968–2001), that featured his gentle, soft-spoken personality and directness to his audiences.

Initially educated to be a minister, Rogers was displeased with the way television addressed children and made an effort to change this when he began to write for and perform on local Pittsburgh-area shows dedicated to youth. The Public Broadcasting System developed his own nationally-aired show in 1968 and, over the course of three decades on television, he became an indelible American icon of children’s entertainment and education, as well as a symbol of compassion, patience, and morality. He was also known for his advocacy of various public causes. His testimony before a lower court in favor of time shifting was cited in a U.S. Supreme Court decision on the Betamax case, and he gave now-famous testimony to a U.S. Senate committee, advocating government funding for children’s television.

Rogers was honored extensively for his life work in children’s education. He received the Presidential Medal of Freedom, the United States’ highest civilian honor; a Peabody Award for his career; and was inducted into the Television Hall of Fame. Two resolutions recognizing his work were unanimously passed by U.S. Congress, one of his trademark sweaters was acquired and is on display at the Smithsonian Institution, and several buildings and works of art in Pennsylvania are dedicated to his memory.

In 1996, Mister Fred Rogers was ranked #35 on TV Guide’s 50 Greatest TV Stars of All Time.

I’m not that interested in ‘mass’ communications. I’m much more interested in what happens between this person and the one person watching. The space between the television set and that person who’s watching is very holy ground.

These two clips will remind you of his power and vision and stay with you the whole day:

In 1997, Fred Rogers was presented with a Lifetime Achievement Award at the Emmys. His acceptance speech is one of the most gentle, moving, humble, and powerful statements I’ve seen in a long time. Even the way he accepts the award from Tim Robbins — in a gentle, curious manner, just standing back and calmly smiling at the crowd — it’s amazing. As the clip ends, his standing ovation begins.

His speech that he made before the United States Senate Subcommittee on Communications to support funding for PBS and the Corporation for Public Broadcasting.  In about six minutes of testimony, Rogers spoke of the need for social and emotional education that public television provided. He passionately argued that alternative television programming like his Neighborhood helped encourage children to become happy and productive citizens, sometimes opposing less positive messages in media and in popular culture.

6th (Self Help) Day of Xmas – Liz

Words from a woman who LIVED/LOVED/LAUGHED the hell out of life. You should do it too, in your own way.

“The problem with people who have no vices is that generally you can be pretty sure they’re going to have some pretty annoying virtues.” – Elizabeth Taylor

Lost TV Shows – Not So Secret Obsession

From time to time, I think about a few TV shows that I watched and loved and I look to see if they are available anywhere.  That is why I have Remington Steele, Columbo, Rockford Files, Hart to Hart, The Scarecrow and Mrs. King and a few others saved on various Hulu/NetFlix/Amazon players.  Still, there are a few that have never been made available on DVD or streaming and I think missing them has become a bit of an obsession.  Here are a few:

China-Beach

China Beach

The wiki:

China Beach is an American dramatic television series set at an evacuation hospital during the Vietnam War. The title refers to My Khe beach in the city of Đà Nẵng, Vietnam, which was nicknamed “China Beach” in English by American and Australian soldiers during the Vietnam War. The ABC TV drama aired for four seasons, from 1988 to 1991.  Some of the notable cast were Dana Delany, Marg Helgenberger, Ricki Lake, and Cloe Webb.

Created by William Broyles, Jr. and John Sacret Young, the series looks at the Vietnam War from a unique perspective: that of the women, military personnel and civilians, who were present during the conflict. John Wells took over most of the series beginning with the second season—many of the show’s cast members would appear later on the Wells-produced series, ER.

Set in a Vietnam locale nicknamed “Bac My An Beach” at the 510th Evacuation Hospital and R&R (the “Five-and-Dime” Rest & Recreation) facility, the cast of characters includes US Army doctors and nurses, officers, soldiers, Red Cross volunteers, and civilian personnel (American, French, and Vietnamese). The series also featured the experiences of the characters when they returned to the U.S., either on leave or at the end of their tour of duty. The show did not shy away from showing the gruesomeness of war, providing a very gritty view of the experience there. Unusual story-telling methods were sometimes used: scenes presented in reverse chronology; insertion of animated cartoons to express a character’s state of mind; alternating between interviews with former military nurses and scripted scenes; and a visit by the cast to the Vietnam Veterans Memorial Wall in Washington, D.C

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ill-fly-away

I’ll Fly Away

The wiki:

I’ll Fly Away is a television series set during the late 1950s and early 1960s, in an unspecified Southern U.S. state. It aired on NBC from 1991 to 1993 and starred Regina Taylor as Lilly Harper, a black housekeeper for the family of district attorney Forrest Bedford (Sam Waterston), whose name is an ironic reference to Nathan Bedford Forrest (1821-1877), the founder of the Ku Klux Klan. As the show progressed, Lilly became increasingly involved in the Civil Rights Movement, with events eventually drawing in Forrest as well.

I’ll Fly Away won two 1992 Emmy Awards (Eric Laneuville for Outstanding Individual Achievement in Directing in a Drama Series for the episode All God’s Children, and for series creators Joshua Brand and John Falsey for Outstanding Individual Achievement in Writing in a Miniseries or a Special), and 23 nominations in total. It won three Humanitas Prizes, two Golden Globe Awards, two NAACP Image Awards for Outstanding Drama Series, and a Peabody Award. However, the series was never a ratings blockbuster, and it was canceled by NBC in 1993, despite widespread protests by critics and viewer organizations.

After the program’s cancellation, a two-hour movie, I’ll Fly Away: Then and Now, was produced, in order to resolve dangling storylines from Season 2, and provide the series with a true finale. The movie aired on October 11, 1993 on PBS. Its major storyline closely paralleled the true story of the 1955 murder of Emmett Till in Money, Mississippi. Thereafter, PBS began airing repeats of the original episodes, ceasing after one complete showing of the entire series.

The series takes its name from a Christian hymn written in 1929 by Albert E. Brumley.

In 1999 TV Guide ranked Lilly Harper number 15 on its list of 50 Greatest TV Characters of All Time.

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molly_doddThe Days and Nights of Molly Dodd

The wiki:

The Days and Nights of Molly Dodd is an American comedy-drama series that aired on NBC from 1987 to 1988, and on Lifetime from 1988 to 1991. It was created by Jay Tarses and stars Blair Brown in the title role.

The show depicts the life of Molly Bickford Dodd, a divorced woman in New York City with a lifestyle that could be described as both yuppie and bohemian. Molly seems to drift from job to job and relationship to relationship. Her ex-husband, a ne’er-do-well jazz musician, still cares for her. In fact, nearly every man she meets (and the occasional woman) adores her. Her warmth and emotional accessibility are the root cause of most of Molly’s problems in life.

In addition to Brown and Tarses, the cast included Allyn Ann McLerie as Molly’s mother, James Greene as her building’s elevator operation/doorman, William Converse-Roberts as her ex-husband Fred Dodd, and Maureen Anderman as her best friend Nina. Sandy Faison was a cast member during its run on NBC. Actors David Strathairn and Richard Lawson each appeared in about a third of the episodes (both playing characters who were romantic interests for Molly).

Major recurring roles were held by Victor Garber, Richard Venture (who played Molly’s father), George Gaynes, John Pankow, and J. Smith-Cameron.

“Bernice Bobs Her Hair” by F. Scott Fitzgerald

Bernice Bobs Her Hair” is a short story by F. Scott Fitzgerald, written in 1920 and first published in the Saturday Evening Post in May of that year. It appeared shortly thereafter in the collection Flappers and Philosophers.  The story was based on letters Fitzgerald sent to his younger sister, Annabel, advising her on how to be more attractive to young men. The original text was much longer, but Fitzgerald cut nearly 3000 words and changed the ending to make the story more attractive to publishers.
I adore this story.  I remember seeing the short film (attached below) as a kid and being really entertained, I am not sure why, it just seemed so exciting.  You will enjoy it too.
Bernice Bobs Her Hair by F. Scott Fitzgerald
I
After dark on Saturday nightone could stand on the first tee of the golf-coupe and see the country-club windows as a yellow expanse over a very black and wavy ocean. The waves of this ocean, so to speak, were the heads of many curious eddies, a few of the more ingenious chauffeurs, the golf professional’s deaf sister—and there were usually several stray, diffident waves who might have rolled inside had they so desired. This was the gallery.The balcony was inside. It consisted of the circle of wicker chairs that lined the wall of the combination clubroom and ballroom. At these Saturday-nightdances it was largely feminine; a great babel of middle-aged ladies with sharp eyes and icy hearts behind lorgnettes and large bosoms. The main function of the balcony was critical, it occasionally showed grudging admiration, but never approval, for it is well known among ladies over thirty-five that when the younger set dance in the summer-time it is with the very worst intentions in the world, and if they are not bombarded with stony eyes stray couples will dance weird barbaric interludes in the corners, and the more popular, more dangerous, girls will sometimes be kissed in the parked limousines of unsuspecting dowagers.But, after all, this critical circle is not close enough to the stage to see the actors’ faces and catch the subtler byplay. It can only frown and lean, ask questions and make satisfactory deductions from its set of postulates, such as the one which states that every young man with a large income leads the life of a hunted partridge. It never really appreciates the drama of the shifting, semi-cruel world of adolescence. No; boxes, orchestra-circle, principals, and chorus be represented by the medley of faces and voices that sway to the plaintive African rhythm of Dyer’s dance orchestra.From sixteen-year-old Otis Ormonde, who has two more years at Hill School, to G. Reece Stoddard, over whose bureau at home hangs a Harvard law diploma; from little Madeleine Hogue, whose hair still feels strange and uncomfortable on top of her head, to Bessie MacRae, who has been the life of the party a little too long—more than ten years—the medley is not only the centre of the stage but contains the only people capable of getting an unobstructed view of it.

With a flourish and a bang the music stops. The couples exchange artificial, effortless smiles, facetiously repeat “la-de-da-da dum-dum,” and then the clatter of young feminine voices soars over the burst of clapping.

A few disappointed stags caught in midfloor as they bad been about to cut in subsided listlessly back to the walls, because this was not like the riotous Christmas dances—these slimmer hops were considered just pleasantly warm and exciting, where even the younger marrieds rose and performed ancient waltzes and terrifying fox trots to the tolerant amusement of their younger brothers and sisters.

Warren McIntyre, who casually attended Yale, being one of the unfortunate stags, felt in his dinner-coat pocket for a cigarette and strolled out onto the wide, semidark veranda, where couples were scattered at tables, filling the lantern-hung night with vague words and hazy laughter. He nodded here and there at the less absorbed and as he passed each couple some half-forgotten fragment of a story played in his mind, for it was not a large city and every one was Who’s Who to every one else’s past. There, for example, were Jim Strain and Ethel Demorest, who had been privately engaged for three years. Every one knew that as soon as Jim managed to hold a job for more than two months she would marry him. Yet how bored they both looked, and how wearily Ethel regarded Jim sometimes, as if she wondered why she had trained the vines of her affection on such a wind-shaken poplar.

Warren was nineteen and rather pitying with those of his friends who hadn’t gone East to college. But, like most boys, he bragged tremendously about the girls of his city when he was away from it. There was Genevieve Ormonde, who regularly made the rounds of dances, house-parties, and football games at Princeton, Yale, Williams, and Cornell; there was black-eyed Roberta Dillon, who was quite as famous to her own generation as Hiram Johnson or Ty Cobb; and, of course, there was Marjorie Harvey, who besides having a fairylike face and a dazzling, bewildering tongue was already justly celebrated for having turned five cart-wheels in succession during the last pump-and-slipper dance at New Haven.

Warren, who had groan up across the street from Marjorie, had long been “crazy about her.” Sometimes she seemed to reciprocate his feeling with a faint gratitude, but she had tried him by her infallible test and informed him gravely that she did not love him. Her test was that when she was away from him she forgot him and had affairs with other boys. Warren found this discouraging, especially as Marjorie had been making little trips all summer, and for the first two or three days after each arrival home he saw great heaps of mail on the Harveys’ hall table addressed to her in various masculine handwritings. To make matters worse, all during the month of August she had been visited by her cousin Bernice from Eau Claire, and it seemed impossible to see her alone. It was always necessary to hunt round and find some one to take care of Bernice. As August waned this was becoming more and more difficult.

Much as Warren worshipped Marjorie he had to admit that Cousin Bernice was sorta dopeless. She was pretty, with dark hair and high color, but she was no fun on a party. Every Saturday night he danced a long arduous duty dance with her to please Marjorie, but he had never been anything but bored in her company.

“Warren”—a soft voice at his elbow broke in upon his thoughts, and he turned to see Marjorie, flushed and radiant as usual. She laid a hand on his shoulder and a glow settled almost imperceptibly over him.

“Warren,” she whispered “do something for me—dance with Bernice. She’s been stuck with little Otis Ormonde for almost an hour.”

Warren’s glow faded.

“Why—sure,” he answered half-heartedly.

“You don’t mind, do you? I’ll see that you don’t get stuck.”

“‘Sall right.”

Marjorie smiled—that smile that was thanks enough.

“You’re an angel, and I’m obliged loads.”

With a sigh the angel glanced round the veranda, but Bernice and Otis were not in sight. He wandered back inside, and there in front of the women’s dressing-room he found Otis in the centre of a group of young men who were convulsed with laughter. Otis was brandishing a piece of timber he had picked up, and discoursing volubly.

“She’s gone in to fix her hair,” he announced wildly. “I’m waiting to dance another hour with her.”

Their laughter was renewed.

“Why don’t some of you cut in?” cried Otis resentfully. “She likes more variety.”

“Why, Otis,” suggested a friend “you’ve just barely got used to her.”

“Why the two-by-four, Otis?” inquired Warren, smiling.

“The two-by-four? Oh, this? This is a club. When she comes out I’ll hit her on the head and knock her in again.”

Warren collapsed on a settee and howled with glee.

“Never mind, Otis,” he articulated finally. “I’m relieving you this time.”

Otis simulated a sudden fainting attack and handed the stick to Warren.

“If you need it, old man,” he said hoarsely.

No matter how beautiful or brilliant a girl may be, the reputation of not being frequently cut in on makes her position at a dance unfortunate. Perhaps boys prefer her company to that of the butterflies with whom they dance a dozen times an but, youth in this jazz-nourished generation is temperamentally restless, and the idea of fox-trotting more than one full fox trot with the same girl is distasteful, not to say odious. When it comes to several dances and the intermissions between she can be quite sure that a young man, once relieved, will never tread on her wayward toes again.

Warren danced the next full dance with Bernice, and finally, thankful for the intermission, he led her to a table on the veranda. There was a moment’s silence while she did unimpressive things with her fan.

“It’s hotter here than in Eau Claire,” she said.

Warren stifled a sigh and nodded. It might be for all he knew or cared. He wondered idly whether she was a poor conversationalist because she got no attention or got no attention because she was a poor conversationalist.

“You going to be here much longer?” he asked and then turned rather red. She might suspect his reasons for asking.

“Another week,” she answered, and stared at him as if to lunge at his next remark when it left his lips.

Warren fidgeted. Then with a sudden charitable impulse he decided to try part of his line on her. He turned and looked at her eyes.

“You’ve got an awfully kissable mouth,” he began quietly.

This was a remark that he sometimes made to girls at college proms when they were talking in just such half dark as this. Bernice distinctly jumped. She turned an ungraceful red and became clumsy with her fan. No one had ever made such a remark to her before.

“Fresh!”—the word had slipped out before she realized it, and she bit her lip. Too late she decided to be amused, and offered him a flustered smile

Warren was annoyed. Though not accustomed to have that remark taken seriously, still it usually provoked a laugh or a paragraph of sentimental banter. And he hated to be called fresh, except in a joking way. His charitable impulse died and he switched the topic.
“Jim Strain and Ethel Demorest sitting out as usual,” he commented.

This was more in Bernice’s line, but a faint regret mingled with her relief as the subject changed. Men did not talk to her about kissable mouths, but she knew that they talked in some such way to other girls.

“Oh, yes,” she said, and laughed. “I hear they’ve been mooning around for years without a red penny. Isn’t it silly?”

Warren’s disgust increased. Jim Strain was a close friend of his brother’s, and anyway he considered it bad form to sneer at people for not having money. But Bernice had had no intention of sneering. She was merely nervous.

II

When Marjorie and Bernice reached home at half after midnight they said good night at the top of the stairs. Though cousins, they were not intimates. As a matter of fact Marjorie had no female intimates—she considered girls stupid. Bernice on the contrary all through this parent-arranged visit had rather longed to exchange those confidences flavored with giggles and tears that she considered an indispensable factor in all feminine intercourse. But in this respect she found Marjorie rather cold; felt somehow the same difficulty in talking to her that she had in talking to men. Marjorie never giggled, was never frightened, seldom embarrassed, and in fact had very few of the qualities which Bernice considered appropriately and blessedly feminine.As Bernice busied herself with tooth-brush and paste this night she wondered for the hundredth time why she never had any attention when she was away from home. That her family were the wealthiest in Eau Claire; that her mother entertained tremendously, gave little diners for her daughter before all dances and bought hear a car of her own to drive round in, never occurred to her as factors in her home-town social success. Like most girls she had been brought up on the warm milk prepared by Annie Fellows Johnston and on novels in which the female was beloved because of certain mysterious womanly qualities always mentioned but never displayed.Bernice felt a vague pain that she was not at present engaged in being popular. She did not know that had it not been for Marjorie’s campaigning she would have danced the entire evening with one man; but she knew that even in Eau Claire other girls with less position and less pulchritude were given a much bigger rush. She attributed this to something subtly unscrupulous in those girls. It had never worried her, and if it had her mother would have assured her that the other girls cheapened themselves and that men really respected girls like Bernice.She turned out the light in her bathroom, and on an impulse decided to go in and chat for a moment with her aunt Josephine, whose light was still on. Her soft slippers bore her noiselessly down the carpeted hall, but hearing voices inside she stopped near the partly opened door. Then she caught her own name, and without any definite intention of eavesdropping lingered—and the thread of the conversation going on inside pierced her consciousness sharply as if it had been drawn through with a needle.”She’s absolutely hopeless!” It was Marjorie’s voice. “Oh, I know what you’re going to say! So many people have told you how pretty and sweet she is, and how she can cook! What of it? She has a bum time. Men don’t like her.”"What’s a little cheap popularity?”

Mrs. Harvey sounded annoyed.

“It’s everything when you’re eighteen,” said Marjorie emphatically. “I’ve done my best. I’ve been polite and I’ve made men dance with her, but they just won’t stand being bored. When I think of that gorgeous coloring wasted on such a ninny, and think what Martha Carey could do with it—oh!”

“There’s no courtesy these days.”

Mrs. Harvey’s voice implied that modern situations were too much for her. When she was a girl all young ladies who belonged to nice families had glorious times.

“Well,” said Marjorie, “no girl can permanently bolster up a lame-duck visitor, because these days it’s every girl for herself. I’ve even tried to drop hints about clothes and things, and she’s been furious—given me the funniest looks. She’s sensitive enough to know she’s not getting away with much, but I’ll bet she consoles herself by thinking that she’s very virtuous and that I’m too gay and fickle and will come to a bad end. All unpopular girls think that way. Sour grapes! Sarah Hopkins refers to Genevieve and Roberta and me as gardenia girls! I’ll bet she’d give ten years of her life and her European education to be a gardenia girl and have three or four men in love with her and be cut in on every few feet at dances.”

“It seems to me,” interrupted Mrs. Harvey rather wearily, “that you ought to be able to do something for Bernice. I know she’s not very vivacious.”

Marjorie groaned.

“Vivacious! Good grief! I’ve never heard her say anything to a boy except that it’s hot or the floor’s crowded or that she’s going to school in New York next year. Sometimes she asks them what kind of car they have and tells them the kind she has. Thrilling!”

There was a short silence and then Mrs. Harvey took up her refrain:

“All I know is that other girls not half so sweet and attractive get partners. Martha Carey, for instance, is stout and loud, and her mother is distinctly common. Roberta Dillon is so thin this year that she looks as though Arizona were the place for her. She’s dancing herself to death.”

“But, mother,” objected Marjorie impatiently, “Martha is cheerful and awfully witty and an awfully slick girl, and Roberta’s a marvellous dancer. She’s been popular for ages!”

Mrs. Harvey yawned.

“I think it’s that crazy Indian blood in Bernice,” continued Marjorie. “Maybe she’s a reversion to type. Indian women all just sat round and never said anything.”

“Go to bed, you silly child,” laughed Mrs. Harvey. “I wouldn’t have told you that if I’d thought you were going to remember it. And I think most of your ideas are perfectly idiotic,” she finished sleepily.

There was another silence, while Marjorie considered whether or not convincing her mother was worth the trouble. People over forty can seldom be permanently convinced of anything. At eighteen our convictions are hills from which we look; at forty-five they are caves in which we hide.

Having decided this, Marjorie said good night. When she came out into the hall it was quite empty.

III

While Marjorie was breakfasting late next day Bernice came into the room with a rather formal good morning, sat down opposite, stared intently over and slightly moistened her lips.

“What’s on your mind?” inquired Marjorie, rather puzzled.

Bernice paused before she threw her hand-grenade.

“I heard what you said about me to your mother last night.”

Marjorie was startled, but she showed only a faintly heightened color and her voice was quite even when she spoke.

Where were you?”

“In the hall. I didn’t mean to listen—at first.”

After an involuntary look of contempt Marjorie dropped her eyes and became very interested in balancing a stray corn-flake on her finger.”

“I guess I’d better go back to Eau Claire—if I’m such a nuisance.” Bernice’s lower lip was trembling violently and she continued on a wavering note: “I’ve tried to be nice, and—and I’ve been first neglected and then insulted. No one ever visited me and got such treatment.”

Marjorie was silent.

“But I’m in the way, I see. I’m a drag on you. Your friends don’t like me.” She paused, and then remembered another one of her grievances. “Of course I was furious last week when you tried to hint to me that that dress was unbecoming. Don’t you think I know how to dress myself?”

“No,” murmured Marjorie less than half-aloud.

“What?”

“I didn’t hint anything,” said Marjorie succinctly. “I said, as I remember, that it was better to wear a becoming dress three times straight than to alternate it with two frights.”

“Do you think that was a very nice thing to say?”

“I wasn’t trying to be nice.” Then after a pause: “When do you want to go?”

Bernice drew in her breath sharply.

“Oh!” It was a little half-cry.

Marjorie looked up in surprise.

“Didn’t you say you were going?”

Yes, but——”

“Oh, you were only bluffing!”

They stared at each other across the breakfast-table for a moment. Misty waves were passing before Bernice’s eyes, while Marjorie’s face wore that rather hard expression that she used when slightly intoxicated undergraduate’s were making love to her.

“So you were bluffing,” she repeated as if it were what she might have expected.

Bernice admitted it by bursting into tears. Marjorie’s eyes showed boredom.

“You’re my cousin,” sobbed Bernice. “I’m v-v-visiting you. I was to stay a month, and if I go home my mother will know and she’ll wah-wonder——”

Marjorie waited until the shower of broken words collapsed into little sniffles.

“I’ll give you my month’s allowance,” she said coldly, “and you can spend this last week anywhere you want. There’s a very nice hotel——”

Bernice’s sobs rose to a flute note, and rising of a sudden she fled from the room.

An hour later, while Marjorie was in the library absorbed in composing one of those non-committal marvelously elusive letters that only a young girl can write, Bernice reappeared, very red-eyed, and consciously calm. She cast no glance at Marjorie but took a book at random from the shelf and sat down as if to read. Marjorie seemed absorbed in her letter and continued writing. When the clock showed noon Bernice closed her book with a snap.

I suppose I’d better get my railroad ticket.”

This was not the beginning of the speech she had rehearsed up-stairs, but as Marjorie was not getting her cues—wasn’t urging her to be reasonable; it’s an a mistake—it was the best opening she could muster.

“Just wait till I finish this letter,” said Marjorie without looking round. “I want to get it off in the next mail.”

After another minute, during which her pen scratched busily, she turned round and relaxed with an air of “at your service.” Again Bernice had to speak.

“Do you want me to go home?”

“Well,” said Marjorie, considering, “I suppose if you’re not having a good time you’d better go. No use being miserable.”

“Don’t you think common kindness——”

“Oh, please don’t quote ‘Little Women’!” cried Marjorie impatiently. “That’s out of style.”

“You think so?”

“Heavens, yes! What modern girl could live like those inane females?”

“They were the models for our mothers.”

Marjorie laughed.

“Yes, they were—not! Besides, our mothers were all very well in their way, but they know very little about their daughters’ problems.”

Bernice drew herself up.

“Please don’t talk about my mother.”

Marjorie laughed.

I don’t think I mentioned her.”

Bernice felt that she was being led away from her subject.

“Do you think you’ve treated me very well?”

“I’ve done my best. You’re rather hard material to work with.”

The lids of Bernice’s eyes reddened.

“I think you’re hard and selfish, and you haven’t a feminine quality in you.”

“Oh, my Lord!” cried Marjorie in desperation “You little nut! Girls like you are responsible for all the tiresome colorless marriages; all those ghastly inefficiencies that pass as feminine qualities. What a blow it must be when a man with imagination marries the beautiful bundle of clothes that he’s been building ideals round, and finds that she’s just a weak, whining, cowardly mass of affectations!”

Bernice’s mouth had slipped half open.

“The womanly woman!” continued Marjorie. “Her whole early life is occupied in whining criticisms of girls like me who really do have a good time.”

Bernice’s jaw descended farther as Marjorie’s voice rose.

“There’s some excuse for an ugly girl whining. If I’d been irretrievably ugly I’d never have forgiven my parents for bringing me into the world. But you’re starting life without any handicap—” Marjorie’s little fist clinched, “If you expect me to weep with you you’ll be disappointed. Go or stay, just as you like.” And picking up her letters she left the room.

Bernice claimed a headache and failed to appear at luncheon. They had a matinée date for the afternoon, but the headache persisting, Marjorie made explanation to a not very downcast boy. But when she returned late in the afternoon she found Bernice with a strangely set face waiting for her in her bedroom.

“I’ve decided,” began Bernice without preliminaries, “that maybe you’re right about things—possibly not. But if you’ll tell me why your friends aren’t—aren’t interested in me I’ll see if I can do what you want me to.”

Marjorie was at the mirror shaking down her hair.

“Do you mean it?”

“Yes.”

“Without reservations? Will you do exactly what I say?”

“Well, I——”

“Well nothing! Will you do exactly as I say?”

“If they’re sensible things.”

“They’re not! You’re no case for sensible things.”

“Are you going to make—to recommend——”

“Yes, everything. If I tell you to take boxing-lessons you’ll have to do it. Write home and tell your mother you’re going’ to soy another two weeks.

“If you’ll tell me——”

“All right—I’ll just give you a few examples now. First you have no ease of manner. Why? Because you’re never sure about your personal appearance. When a girl feels that she’s perfectly groomed and dressed she can forget that part of her. That’s charm. The more parts of yourself you can afford to forget the more charm you have.”

“Don’t I look all right?”

“No; for instance you never take care of your eyebrows. They’re black and lustrous, but by leaving them straggly they’re a blemish. They’d be beautiful if you’d take care of them in one-tenth the time you take doing nothing. You’re going to brush them so that they’ll grew straight.”

Bernice raised the brows in question.

“Do you mean to say that men notice eyebrows?”

“Yes—subconsciously. And when you go home you ought to have your teeth straightened a little. It’s almost imperceptible, still——”

“But I thought,” interrupted Bernice in bewilderment, “that you despised little dainty feminine things like that.”

“I hate dainty minds,” answered Marjorie. “But a girl has to be dainty in person. If she looks like a million dollars she can talk about Russia, ping-pong, or the League of Nations and get away with it.”

“What else?”

“Oh, I’m just beginning! There’s your dancing.”

“Don’t I dance all right?”

“No, you don’t—you lean on a man; yes, you do—ever so slightly. I noticed it when we were dancing together yesterday. And you dance standing up straight instead of bending over a little. Probably some old lady on the side-line once told you that you looked so dignified that way. But except with a very small girl it’s much harder on the man, and he’s the one that counts.”

“Go on.” Bernice’s brain was reeling.

“Well, you’ve got to learn to be nice to men who are sad birds. You look as if you’d been insulted whenever you’re thrown with any except the most popular boys. Why, Bernice, I’m cut in on every few feet—and who does most of it? Why, those very sad birds. No girl can afford to neglect them. They’re the big part of any crowd. Young boys too shy to talk are the very best conversational practice. Clumsy boys are the best dancing practice. If you can follow them and yet look graceful you can follow a baby tank across a barb-wire sky-scraper.”

Bernice sighed profoundly, but Marjorie was not through.

“If you go to a dance and really amuse, say, three sad birds that dance with you; if you talk so well to them that they forget they’re stuck with you, you’ve done something. They’ll come back next time, and gradually so many sad birds will dance with you that the attractive boys will see there’s no danger of being stuck—then they’ll dance with you.”

“Yes,” agreed Bernice faintly. “I thank I begin to see.”

“And finally,” concluded Marjorie, “poise and charm will just come. You’ll wake up some morning knowing you’ve attained it and men will know it too.”

Bernice rose.

“It’s been awfully kind of you—but nobody’s ever talked to me like this before, and I feel sort of startled.”

Marjorie made no answer but gazed pensively at her own image in the mirror.

“You’re a peach to help me,” continued Bernice.

Still Marjorie did not answer, and Bernice thought she had seemed too grateful.

“I know you don’t like sentiment,” she said timidly.

Marjorie turned to her quickly.

“Oh, I wasn’t thinking about that. I was considering whether we hadn’t better bob your hair.”

Bernice collapsed backward upon the bed.

IV

On the following Wednesday evening there was a dinner-dance at the country club. When the guests strolled in Bernice found her place-card with a slight feeling of irritation. Though at her right sat G. Reece Stoddard, a most desirable and distinguished young bachelor, the all-important left held only Charley Paulson. Charley lacked height, beauty, and social shrewdness, and in her new enlightenment Bernice decided that his only qualification to be her partner was that he had never been stuck with her. But this feeling of irritation left with the last of the soup-plates, and Marjorie’s specific instruction came to her. Swallowing her pride she turned to Charley Paulson and plunged.

“Do you think I ought to bob my hair, Mr. Charley Paulson?”

Charley looked up in surprise.

“Why?”

“Because I’m considering it. It’s such a sure and easy way of attracting attention.”

Charley smiled pleasantly. He could not know this had been rehearsed. He replied that he didn’t know much about bobbed hair. But Bernice was there to tell him.

“I want to be a society vampire, you see,” she announced coolly, and went on to inform him that bobbed hair was the necessary prelude. She added that she wanted to ask his advice, because she had heard he was so critical about girls.

Charley, who knew as much about the psychology of women as he did of the mental states of Buddhist contemplatives, felt vaguely flattered.

“So I’ve decided,” she continued, her voice rising slightly, “that early next week I’m going down to the Sevier Hotel barber-shop, sit in the first chair, and get my hair bobbed.” She faltered noticing that the people near her had paused in their conversation and were listening; but after a confused second Marjorie’s coaching told, and she finished her paragraph to the vicinity at large. “Of course I’m charging admission, but if you’ll all come down and encourage me I’ll issue passes for the inside seats.”

There was a ripple of appreciative laughter, and under cover of it G. Reece Stoddard leaned over quickly and said close to her ear: “I’ll take a box right now.”

She met his eyes and smiled as if he had said something surprisingly brilliant.

“Do you believe in bobbed hair?” asked G. Reece in the same undertone.

“I think it’s unmoral,” affirmed Bernice gravely. “But, of course, you’ve either got to amuse people or feed ‘em or shock ‘em.” Marjorie had culled this from Oscar Wide. It was greeted with a ripple of laughter from the men and a series of quick, intent looks from the girls. And then as though she had said nothing of wit or moment Bernice turned again to Charley and spoke confidentially in his ear.

“I want to ask you your opinion of several people. I imagine you’re a wonderful judge of character.”

Charley thrilled faintly—paid her a subtle compliment by overturning her water.

Two hours later, while Warren McIntyre was standing passively in the stag line abstractedly watching the dancers and wondering whither and with whom Marjorie had disappeared, an unrelated perception began to creep slowly upon him—a perception that Bernice, cousin to Marjorie, had been cut in on several times in the past five minutes. He closed his eyes, opened them and looked again. Several minutes back she had been dancing with a visiting boy, a matter easily accounted for; a visiting boy would know no better. But now she was dancing with some one else, and there was Charley Paulson headed for her with enthusiastic determination in his eye. Funny—Charley seldom danced with more than three girls an evening.

Warren was distinctly surprised when—the exchange having been effected—the man relieved proved to be none ether than G. Reece Stoddard himself. And G. Reece seemed not at all jubilant at being relieved. Next time Bernice danced near, Warren regarded her intently. Yes, she was pretty, distinctly pretty; and to-night her face seemed really vivacious. She had that look that no woman, however histrionically prescient, can successfully counterfeit—she looked as if she were having a good time. He liked the way she had her hair arranged, wondered if it was brilliantine that made it glisten so. And that dress was becoming—a dark red that set off her shadowy eyes and high coloring. He remembered that he had thought her pretty when she first came to town, before he had realized that she was dull. Too bad she was dull—dull girls unbearable—certainly pretty though.

His thoughts zigzagged back to Marjorie. This disappearance would be like other disappearances. When she reappeared he would demand where she had been—would be told emphatically that it was none of his business. What a pity she was so sure of him! She basked in the knowledge that no other girl in town interested him; she defied him to fall in love with Genevieve or Roberta.

Warren sighed. The way to Marjorie’s affections was a labyrinth indeed. He looked up. Bernice was again dancing with the visiting boy. Half unconsciously he took a step out from the stag line in her direction, and hesitated. Then he said to himself that it was charity. He walked toward her—collided suddenly with G. Reece Stoddard.

“Pardon me,” said Warren.

But G. Reece had not stopped to apologize. He had again cut in on Bernice.

That night at one o’clock Marjorie, with one hand on the electric-light switch in the hall, turned to take a last look at Bernice’s sparkling eyes.

“So it worked?”

“Oh, Marjorie, yes!” cried Bernice.

“I saw you were having a gay time.”

“I did! The only trouble was that about midnight I ran short of talk. I had to repeat myself—with different men of course. I hope they won’t compare notes.”

“Men don’t,” said Marjorie, yawning, “and it wouldn’t matter if they did—they’d think you were even trickier.”

She snapped out the light, and as they started up the stairs Bernice grasped the banister thankfully. For the first time in her life she had been danced tired.

“You see,” said Marjorie it the top of the stairs, “one man sees another man cut in and he thinks there must be something there. Well, we’ll fix up some new stuff to-morrow. Good night.”

“Good night.”

As Bernice took down her hair she passed the evening before her in review. She had followed instructions exactly. Even when Charley Paulson cut in for the eighth time she had simulated delight and had apparently been both interested and flattered. She had not talked about the weather or Eau Claire or automobiles or her school, but had confined her conversation to me, you, and us.

But a few minutes before she fell asleep a rebellious thought was churning drowsily in her brain—after all, it was she who had done it. Marjorie, to be sure, had given her her conversation, but then Marjorie got much of her conversation out of things she read. Bernice had bought the red dress, though she had never valued it highly before Marjorie dug it out of her trunk—and her own voice had said the words, her own lips had smiled, her own feet had danced. Marjorie nice girl—vain, though—nice evening—nice boys—like Warren—Warren—Warren— what’s his name—Warren—

V

To Bernice the next week was a revelation. With the feeling that people really enjoyed looking at her and listening to her came the foundation of self-confidence. Of course there were numerous mistakes at first. She did not know, for instance, that Draycott Deyo was studying for the ministry; she was unaware that he had cut in on her because he thought she was a quiet, reserved girl. Had she known these things she would not have treated him to the line which began “Hello, Shell Shock!” and continued with the bathtub story—”It takes a frightful lot of energy to fix my hair in the summer—there’s so much of it—so I always fix it first and powder my face and put on my hat; then I get into the bathtub, and dress afterward. Don’t you think that’s the best plan?”

Though Draycott Deyo was in the throes of difficulties concerning baptism by immersion and might possibly have seen a connection, it must be admitted that he did not. He considered feminine bathing an immoral subject, and gave her some of his ideas on the depravity of modern society.

But to offset that unfortunate occurrence Bernice had several signal success to her credit. Little Otis Ormonde pleaded off from a trip East and elected instead to follow her with a puppylike devotion, to the amusement of his crowd and to the irritation of G. Reece Stoddard, several of whose afternoon calls Otis completely ruined by the disgusting tenderness of the glances he bent on Bernice. He even told her the story of the two-by-four and the dressing-room to show her how fruitfully mistaken he and every one else had been in their first judgment of her. Bernice laughed off that incident with a slight sinking sensation.

Of all Bernice’s conversation perhaps the best known and most universally approved was the line about the bobbing of her hair.

Oh, Bernice, when you goin’ to get the hair bobbed?”

“Day after to-morrow maybe,” she would reply, laughing. “Will you come and see me? Because I’m counting on you, you know.”

“Will we? You know! But you better hurry up.”

Bernice, whose tonsorial intentions were strictly dishonorable, would laugh again.

“Pretty soon now. You’d be surprised.”

But perhaps the most significant symbol of her success was the gray car of the hypercritical Warren McIntyre, parked daily in front of the Harvey house. At first the parlor-maid was distinctly startled when he asked for Bernice instead of Marjorie; after a week of it she told the cook that Miss Bernice had gotta holda Miss Marjorie’s best fella.

And Miss Bernice had. Perhaps it began with Warren’s desire to rouse jealousy in Marjorie; perhaps it was the familiar though unrecognized strain of Marjorie in Bernice’s conversation; perhaps it was both of these and something of sincere attraction besides. But somehow the collective mind of the younger set knew within a week that Marjorie’s most reliable beau had made an amazing face-about and was giving an indisputable rush to Marjorie’s guest. The question of the moment was how Marjorie would take it. Warren called Bernice on the ‘phone twice a day, sent her notes, and they were frequently seen together in his roadster, obviously engrossed in one of those tense, significant conversation as to whether or not he was sincere.

Marjorie on being twitted only laughed. She said she was mighty glad that Warren had at last found some one who appreciated him. So the younger set laughed, too, and guessed that Marjorie didn’t care and let it go at that.

One afternoon when there were only three days left of her visit Bernice was waiting in the hall for Warren, with whom she was going to a bridge party. She was in rather a blissful mood, and when Marjorie—also bound for the party—appeared beside her and began casually to adjust her hat in the mirror, Bernice was utterly unprepared for anything in the nature of a clash. Marjorie did her work very coldly and succinctly in three sentences.

“You may as well get Warren out of your head,” she said coldly.

“What?” Bernice was utterly astounded.

“You may as well stop making a fool of yourself over Warren McIntyre. He doesn’t care a snap of his fingers about you.”

For a tense moment they regarded each other—Marjorie scornful, aloof; Bernice astounded, half-angry, half-afraid. Then two cars drove up in front of the house and there was a riotous honking. Both of them gasped faintly, turned, and side by side hurried out.

All through the bridge party Bernice strove in vain to master a rising uneasiness. She had offended Marjorie, the sphinx of sphinxes. With the most wholesome and innocent intentions in the world she had stolen Marjorie’s property. She felt suddenly and horribly guilty. After the bridge game, when they sat in an informal circle and the conversation became general, the storm gradually broke. Little Otis Ormonde inadvertently precipitated it.

“When you going back to kindergarten, Otis?” some one had asked.

“Me? Day Bernice gets her hair bobbed.”

“Then your education’s over,” said Marjorie quickly. “That’s only a bluff of hers. I should think you’d have realized.”

“That a fact?” demanded Otis, giving Bernice a reproachful glance.

Bernice’s ears burned as she tried to think up an effectual come-back. In the face of this direct attack her imagination was paralyzed.

“There’s a lot of bluffs in the world,” continued Marjorie quite pleasantly. “I should think you’d be young enough to know that, Otis.”

“Well,” said Otis, “maybe so. But gee! With a line like Bernice’s——”

“Really?” yawned Marjorie. “What’s her latest bon mot?”

No one seemed to know. In fact, Bernice, having trifled with her muse’s beau, had said nothing memorable of late.

“Was that really all a line?” asked Roberta curiously.

Bernice hesitated. She felt that wit in some form was demanded of her, but under her cousin’s suddenly frigid eyes she was completely incapacitated.

“I don’t know,” she stalled.

“Splush!” said Marjorie. “Admit it!”

Bernice saw that Warren’s eyes had left a ukulele he had been tinkering with and were fixed on her questioningly.

“Oh, I don’t know!” she repeated steadily. Her cheeks were glowing.

“Splush!” remarked Marjorie again.

“Come through, Bernice,” urged Otis. “Tell her where to get off.”

Bernice looked round again—she seemed unable to get away from Warren’s eyes.

“I like bobbed hair,” she said hurriedly, as if he had asked her a question, “and I intend to bob mine.”

“When?” demanded Marjorie.

“Any time.”

“No time like the present,” suggested Roberta.

Otis jumped to his feet.

“Good stuff!” he cried. “We’ll have a summer bobbing party. Sevier Hotel barber-shop, I think you said.”

In an instant all were on their feet. Bernice’s heart throbbed violently.

“What?” she gasped.

Out of the group came Marjorie’s voice, very clear and contemptuous.

“Don’t worry—she’ll back out!”

“Come on, Bernice!” cried Otis, starting toward the door.

Four eyes—Warren’s and Marjorie’s—stared at her, challenged her, defied her. For another second she wavered wildly.

“All right,” she said swiftly “I don’t care if I do.”

An eternity of minutes later, riding down-town through the late afternoon beside Warren, the others following in Roberta’s car close behind, Bernice had all the sensations of Marie Antoinette bound for the guillotine in a tumbrel. Vaguely she wondered why she did not cry out that it was all a mistake. It was all she could do to keep from clutching her hair with both bands to protect it from the suddenly hostile world. Yet she did neither. Even the thought of her mother was no deterrent now. This was the test supreme of her sportsmanship; her right to walk unchallenged in the starry heaven of popular girls.

Warren was moodily silent, and when they came to the hotel he drew up at the curb and nodded to Bernice to precede him out. Roberta’s car emptied a laughing crowd into the shop, which presented two bold plate-glass windows to the street.

Bernice stood on the curb and looked at the sign, Sevier Barber-Shop. It was a guillotine indeed, and the hangman was the first barber, who, attired in a white coat and smoking a cigarette, leaned non-chalantly against the first chair. He must have heard of her; he must have been waiting all week, smoking eternal cigarettes beside that portentous, too-often-mentioned first chair. Would they blind-fold her? No, but they would tie a white cloth round her neck lest any of her blood—nonsense—hair—should get on her clothes.

“All right, Bernice,” said Warren quickly.

With her chin in the air she crossed the sidewalk, pushed open the swinging screen-door, and giving not a glance to the uproarious, riotous row that occupied the waiting bench, went up to the fat barber.

“I want you to bob my hair.”

The first barber’s mouth slid somewhat open. His cigarette dropped to the floor.

“Huh?”

“My hair—bob it!”

Refusing further preliminaries, Bernice took her seat on high. A man in the chair next to her turned on his side and gave her a glance, half lather, half amazement. One barber started and spoiled little Willy Schuneman’s monthly haircut. Mr. O’Reilly in the last chair grunted and swore musically in ancient Gaelic as a razor bit into his cheek. Two bootblacks became wide-eyed and rushed for her feet. No, Bernice didn’t care for a shine.

Outside a passer-by stopped and stared; a couple joined him; half a dozen small boys’ nose sprang into life, flattened against the glass; and snatches of conversation borne on the summer breeze drifted in through the screen-door.

“Lookada long hair on a kid!”

“Where’d yuh get ‘at stuff? ‘At’s a bearded lady he just finished shavin’.”

But Bernice saw nothing, heard nothing. Her only living sense told her that this man in the white coat had removed one tortoise-shell comb and then another; that his fingers were fumbling clumsily with unfamiliar hairpins; that this hair, this wonderful hair of hers, was going—she would never again feel its long voluptuous pull as it hung in a dark-brown glory down her back. For a second she was near breaking down, and then the picture before her swam mechanically into her vision—Marjorie’s mouth curling in a faint ironic smile as if to say:

“Give up and get down! You tried to buck me and I called your bluff. You see you haven’t got a prayer.”

And some last energy rose up in Bernice, for she clinched her hands under the white cloth, and there was a curious narrowing of her eyes that Marjorie remarked on to some one long afterward.

Twenty minutes later the barber swung her round to face the mirror, and she flinched at the full extent of the damage that had been wrought. Her hair was not curls and now it lay in lank lifeless blocks on both sides of her suddenly pale face It was ugly as sin—she had known it would be ugly as sin. Her face’s chief charm had been a Madonna-like simplicity. Now that was gone and she was—well frightfully mediocre—not stagy; only ridiculous, like a Greenwich Villager who had left her spectacles at home.

As she climbed down from the chair she tried to smile—failed miserably. She saw two of the girls exchange glances; noticed Marjorie’s mouth curved in attenuated mockery—and that Warren’s eyes were suddenly very cold.

“You see,”—her words fell into an awkward pause—”I’ve done it.”

“Yes, you’ve—done it,” admitted Warren.

“Do you like it?”

There was a half-hearted “Sure” from two or three voices, another awkward pause, and then Marjorie turned swiftly and with serpentlike intensity to Warren.

“Would you mind running me down to the cleaners?” she asked. “I’ve simply got to get a dress there before supper. Roberta’s driving right home and she can take the others.”

Warren stared abstractedly at some infinite speck oat the window. Then for an instant his eyes rested coldly on Bernice before they turned to Marjorie.

“Be glad to,” he said slowly.

Bernice did not fully realize the outrageous trap that had been set for her until she met her aunt’s amazed glance just before dinner.

“Why Bernice!”

“I’ve bobbed it, Aunt Josephine.”

“Why, child!”

“Do you like it?”

“Why Bernice!”

“I suppose I’ve shocked you.”

“No, but what’ll Mrs. Deyo think tomorrow night? Bernice, you should have waited until after the Deyo’s dance—you should have waited if you wanted to do that.”

“It was sudden, Aunt Josephine. Anyway, why does it matter to Mrs. Deyo particularly?”

“Why child,” cried Mrs. Harvey, “in her paper on ‘The Foibles of the Younger Generation’ that she read at the last meeting of the Thursday Club she devoted fifteen minutes to bobbed hair. It’s her pet abomination. And the dance is for you and Marjorie!”

“I’m sorry.”

“Oh, Bernice, what’ll your mother say? She’ll think I let you do it.”

“I’m sorry.”

Dinner was an agony. She had made a hasty attempt with a curling-iron, and burned her finger and much hair. She could see that her aunt was both worried and grieved, and her uncle kept saying, “Well, I’ll be darned!” over and over in a hurt and faintly hostile tone. And Marjorie sat very quietly, intrenched behind a faint smile, a faintly mocking smile.

Somehow she got through the evening. Three boy’s called; Marjorie disappeared with one of them, and Bernice made a listless unsuccessful attempt to entertain the two others—sighed thankfully as she climbed the stairs to her room at half past ten. What a day!

When she had undressed for the night the door opened and Marjorie came in.

“Bernice,” she said “I’m awfully sorry about the Deyo dance. I’ll give you my word of honor I’d forgotten all about it.”

“‘Sall right,” said Bernice shortly. Standing before the mirror she passed her comb slowly through her short hair.

“I’ll take you down-town to-morrow,” continued Marjorie, “and the hairdresser’ll fix it so you’ll look slick. I didn’t imagine you’d go through with it. I’m really mighty sorry.”

“Oh, ‘sall right!”

“Still it’s your last night, so I suppose it won’t matter much.”

Then Bernice winced as Marjorie tossed her own hair over her shoulders and began to twist it slowly into two long blond braids until in her cream-colored negligée she looked like a delicate painting of some Saxon princess. Fascinated, Bernice watched the braids grow. Heavy and luxurious they were moving under the supple fingers like restive snakes—and to Bernice remained this relic and the curling-iron and a to-morrow full of eyes. She could see G. Reece Stoddard, who liked her, assuming his Harvard manner and telling his dinner partner that Bernice shouldn’t have been allowed to go to the movies so much; she could see Draycott Deyo exchanging glances with his mother and then being conscientiously charitable to her. But then perhaps by to-morrow Mrs. Deyo would have heard the news; would send round an icy little note requesting that she fail to appear—and behind her back they would all laugh and know that Marjorie had made a fool of her; that her chance at beauty had been sacrificed to the jealous whim of a selfish girl. She sat down suddenly before the mirror, biting the inside of her cheek.

“I like it,” she said with an effort. “I think it’ll be becoming.”

Marjorie smiled.

“It looks all right. For heaven’s sake, don’t let it worry you!”

“I won’t.”

“Good night Bernice.”

But as the door closed something snapped within Bernice. She sprang dynamically to her feet, clinching her hands, then swiftly and noiseless crossed over to her bed and from underneath it dragged out her suitcase. Into it she tossed toilet articles and a change of clothing, Then she turned to her trunk and quickly dumped in two drawerfulls of lingerie and stammer dresses. She moved quietly. but deadly efficiency, and in three-quarters of an hour her trunk was locked and strapped and she was fully dressed in a becoming new travelling suit that Marjorie had helped her pick out.

Sitting down at her desk she wrote a short note to Mrs. Harvey, in which she briefly outlined her reasons for going. She sealed it, addressed it, and laid it on her pillow. She glanced at her watch. The train left at one, and she knew that if she walked down to the Marborough Hotel two blocks away she could easily get a taxicab.

Suddenly she drew in her breath sharply and an expression flashed into her eyes that a practiced character reader might have connected vaguely with the set look she had worn in the barber’s chair—somehow a development of it. It was quite a new look for Bernice—and it carried consequences.

She went stealthily to the bureau, picked up an article that lay there, and turning out all the lights stood quietly until her eyes became accustomed to the darkness. Softly she pushed open the door to Marjorie’s room. She heard the quiet, even breathing of an untroubled conscience asleep.

She was by the bedside now, very deliberate and calm. She acted swiftly. Bending over she found one of the braids of Marjorie’s hair, followed it up with her hand to the point nearest the head, and then holding it a little slack so that the sleeper would feel no pull, she reached down with the shears and severed it. With the pigtail in her hand she held her breath. Marjorie had muttered something in her sleep. Bernice deftly amputated the other braid, paused for an instant, and then flitted swiftly and silently back to her own room.

Down-stairs she opened the big front door, closed it carefully behind her, and feeling oddly happy and exuberant stepped off the porch into the moonlight, swinging her heavy grip like a shopping-bag. After a minute’s brisk walk she discovered that her left hand still held the two blond braids. She laughed unexpectedly—had to shut her mouth hard to keep from emitting an absolute peal. She was passing Warren’s house now, and on the impulse she set down her baggage, and swinging the braids like piece of rope flung them at the wooden porch, where they landed with a slight thud. She laughed again, no longer restraining herself.

“Huh,” she giggled wildly. “Scalp the selfish thing!”

Then picking up her staircase she set off at a half-run down the moonlit street.

The End.

The story was made into a short TV production by PBS in 1976. It was directed by Joan Micklin Silver and starred Shelley Duvall as Bernice, Veronica Cartwright as Marjorie, and Bud Cort as Warren.

Clark Gable – Style Icon

NAME: Clark Gable
OCCUPATION: Film Actor
BIRTH DATE: February 01, 1901
DEATH DATE: November 16, 1960
PLACE OF BIRTH: Cadiz, Ohio
PLACE OF DEATH: Hollywood, California

Best Known For:  Gone With the Wind star Clark Gable epitomized Hollywood’s Golden Age, so much so that the movie star was often called the “King of Hollywood.”

William Clark Gable, known as Clark Gable, was an American film actor most famous for his role as Rhett Butler in the 1939 Civil War epic film Gone with the Wind, in which he starred with Vivien Leigh. His performance earned him his third nomination for the Academy Award for Best Actor; he won for It Happened One Night (1934) and was also nominated for Mutiny on the Bounty (1935). Later movies included Run Silent, Run Deep, a submarine war film, and his final film, The Misfits (1961), which paired Gable with Marilyn Monroe, also in her last screen appearance. In 1999, the American Film Institute named Gable seventh among the greatest male stars of all time.’

Gable appeared opposite some of the most popular actresses of the time. Joan Crawford, who was his favorite actress to work with, was partnered with Gable in eight films, Myrna Loy worked with him seven times, and he was paired with Jean Harlow in six productions. He also starred with Lana Turner in four features, and with Norma Shearer and Ava Gardner in three each. In the mid-1930s, Gable was often named the top male movie star, and second only to the top box-office draw of all, Shirley Temple.

Why He’s A Style Icon

One mention of the name Clark Gable immediately triggers thoughts of a Southern gentleman dressed to the hilt: pristine suit, ascot tie and a waistcoat. You know, the usual mode for men of means during the Civil War era — or at least for the cast of Gone with the Wind. To classify Gable as a one-trick plantation pony would be a mistake worse than the pedophile-like moustache that became one of his trademarks. Indeed, the razor-thin landing strip reads more retro porn star than romancer by today’s standards. However, despite the fact that his facial hair proclivities (yes, he donned the dingy ‘stache off-screen too) were a grooming fail of epic proportions, Gable managed to make his mark on men’s style. It just happened to come from outside the Rhett Butler role for which he is arguably most famous.

In fact, Gable’s first major contribution came five years before his portrayal of the Southern-styled character. In the 1934 romantic comedy It Happened One Night, his unbuttoned dress shirt revealed skin rather than the usual undershirt of the day. The move was bold, brave and as rumor has it, economically devastating for the male undergarment industry. Estimates of sale declines hover in the 75% range, and although there isn’t any hard evidence to back up this dramatic claim, no one can deny that Gable going shirtless gave men everywhere the green light for freedom from an extra (oftentimes unnecessary, sometimes unsightly) layer. Gable’s second influence is one that’s typically overlooked. The 1953 African adventure Mogambo features Gable garbed in safari-wear. And although the look is admittedly contrived in a colonial conquistador sort of way (a “tally ho” wouldn’t have been out of line), it was an appropriate attempt at meshing an ensemble with the environment — the true sign of a gentleman — Southern, safari or otherwise.

Dress The Gable Way

Clark Gable became the serendipitous ringleader of the bare-chested brigade, which should serve as a healthy reminder: Undershirts aren’t required. They tend to turn looks from tailored to frump at the speed of white. But if you insist on wearing an undershirt out of habit or to soak up sweat, there are a few rules to abide by: 1) Wear a V-neck with button-downs; 2) Mow the lawn on your chest, and; 3) Replace your assortment frequently. As for Gable’s safari style, saying that anything with epaulets is good to go these days wouldn’t be far from the truth. However, it’s the montage of pockets that makes this look one for the outdoors. Try a belted, longer-length jacket from British outerwear brand Belstaff. After all, who better to ask about safari suiting than the self-proclaimed tamers of the jungle themselves?

Clark Gable: Style Icon – AskMen.com.

Tegan and Sara – Not So Secret Obsession

I first learned about Tegan and Sara from listening to CBC Radio 3 (another not so secret obsession of mine) several years ago.  From there, I sought out their videos and started downloading their music.  Their intelligent lyrics and strong melodies swirl into a perfect storm of anger-angst-love-loss that burrows into your brain and stays there for days, repeating the same few lines of chorus over and over.  And you don’t even mind.

Born: September 19, 1980 (age 32) Calgary, Alberta, Canada
Genres: Indie rock, New Wave, indie pop, indie folk
Years active: 1995–present
Labels: Vapor, Sanctuary, Sire
Website: teganandsara.com

Tegan and Sara are a Canadian indie band composed of identical twin sisters Tegan Rain Quin and Sara Keirsten Quin.   They were born September 19, 1980 in Calgary, Alberta. They began playing guitar and writing songs at age 15. They initially played as Plunk without a drummer or bass player. In 1997, they used their school’s recording studio to record two demo albums: Who’s in Your Band? and Play Day. In 1998, they won Calgary’s Garage Warz competition, using the studio time they won to record their first professional demo, Yellow tape, which was followed by Orange tape and Red tape.

Two songs from Red tape appeared on their first album, Under Feet Like Ours, which they released independently in 1999 under the name “Sara and Tegan“. They later changed their name to “Tegan and Sara” because it was easier to pronounce and reprinted the album using that name. They also wanted their name to stand out amongst the other ‘Sara’ musicians at the time such as Sarah McLachlan and Sarah Slean. Tegan was easier to remember.   Neil Young‘s manager signed them to Young’s Vapor Records label, and they released This Business of Art through Vapor in 2000. They have toured extensively since then.

In 2002, the band released their third album If It Was You. Their fourth album, So Jealous, was released in 2004 and led to wider success. This album was released through both Vapor and Sanctuary. One track on the album, “Walking with a Ghost“, was covered by The White Stripes, who released it on their Walking with a Ghost EP.

Their 2007 album The Con was released by Vapor and Sire because Sanctuary chose to no longer release new music in the United States. The album was co-produced by Chris Walla. Jason McGerr of Death Cab for Cutie, Matt Sharp of The Rentals and previously Weezer, Hunter Burgan of AFI, and Kaki King all appear on the album.

On October 27, 2009, Tegan and Sara released their sixth album Sainthood, produced by Chris Walla and Howard Redekopp, as well as a three-volume book set titled ON, IN, AT, which is a collection of stories, essays, journals, and photos of the band on tour in America in the fall of 2008, writing together in New Orleans, and touring Australia. The photographs in the book are by Lindsey Byrnes and Ryan Russell. While recording Sainthood, Tegan and Sara spent a week writing songs together in New Orleans. The song “Paperback Head” appeared on the album, making it the first song on any Tegan and Sara album that they wrote together. Spin magazine gave Sainthood four out of five stars and wrote, “Tegan and Sara’s music may no longer be the stuff of teens, but its strength remains in how much it feels like two people talking.”

In 2011, they launched 2011: A Merch Odyssey, which sees the launch of at least one new item in the official online stores every month, all year long. A live CD/DVD combination package titled Get Along was released on November 15 and contains three films titled ‘States’, ‘India’ and ‘For The Most Part’.

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Lauren Bacall – Style Icon

NAME: Lauren Bacall
OCCUPATION: Film Actress, Theater Actress, Television Actress, Pin-up
BIRTH DATE: September 16, 1924 (Age: 87)
PLACE OF BIRTH: New York City, New York
ORIGINALLY: Betty Joan Perske

BEST KNOWN FOR: Lauren Bacall is an American actress known for her distinctive husky voice and sultry looks. She is best remembered for portrayals of provocative women.

Lauren Bacall (born Betty Joan Perske, September 16, 1924) is an American film and stage actress and model, known for her distinctive husky voice and sultry looks.

She first emerged as leading lady in the Humphrey Bogart film To Have And Have Not (1944) and continued on in the film noir genre, with appearances in Bogart movies The Big Sleep (1946) and Dark Passage (1947), as well as a comedienne in How to Marry a Millionaire (1953) with Marilyn Monroe and Designing Woman (1957) with Gregory Peck. Bacall has also worked on Broadway in musicals, gaining a Tony Awards for Applause in 1970 and Woman of the Year in 1981. Her performance in the movie The Mirror Has Two Faces (1996) earned her a Golden Globe Award and an Academy Award nomination.

In 1999, Bacall was ranked #20 of the 25 actresses on the AFI’s 100 Years… 100 Stars list by the American Film Institute. In 2009, she was selected by the Academy of Motion Picture Arts and Sciences to receive an Academy Honorary Award “in recognition of her central place in the Golden Age of motion pictures.”

She campaigned for Democratic candidate Adlai Stevenson in the 1952 Presidential election and for Robert Kennedy in his 1964 run for Senate.

In a 2005 interview with Larry King, Bacall described herself as “anti-Republican… A liberal. The L-word.” She went on to say that “being a liberal is the best thing on earth you can be. You are welcoming to everyone when you’re a liberal. You do not have a small mind.”

The Rat Pack – Style Icons

The Rat Pack was a group of actors originally centered on Humphrey Bogart. In the mid-1960s it was the name used by the press and the general public to refer to a later variation of the group, after Bogart’s death, that called itself “the summit” or “the clan,” featuring Frank Sinatra, Dean Martin, Sammy Davis, Jr., Peter Lawford, and Joey Bishop, who appeared together on stage and in films in the early-1960s, including the movie Ocean’s 11. Sinatra, Martin and Davis were regarded as the group’s lead members.

1950s

The name “The Rat Pack” was first used to refer to a group of friends in New York. Several explanations have been offered for the famous name over the years. According to one version, the group’s original “Den Mother,” Lauren Bacall, after seeing her husband (Bogart) and his friends return from a night in Las Vegas, said words to the effect of “You look like a goddamn rat pack.” “Rat Pack” may also be a shortened version of “Holmby Hills Rat Pack“, a reference to the home of Humphrey Bogart and Lauren Bacall which served as a regular hangout.

Visiting members included Errol Flynn, Nat King Cole, Mickey Rooney and Cesar Romero.

According to Stephen Bogart, the original members of the Holmby Hills Rat Pack were: Frank Sinatra (pack master), Judy Garland (first vice-president), Bacall (den mother), Sid Luft (cage master), Bogart (rat in charge of public relations), Swifty Lazar (recording secretary and treasurer), Nathaniel Benchley (historian), David Niven, Katharine Hepburn, Spencer Tracy, George Cukor, Cary Grant, Rex Harrison, and Jimmy Van Heusen. In his autobiography The Moon’s a Balloon, David Niven confirms that the Rat Pack originally included him but not Sammy Davis, Jr. or Dean Martin.

1960s

The 1960s version of the group included Frank Sinatra, Dean Martin, Sammy Davis, Jr., Joey Bishop, Peter Lawford, and for a brief stint, Norman Fell.[citation needed] Marilyn Monroe, Angie Dickinson, Juliet Prowse, and Shirley MacLaine were often referred to as the “Rat Pack Mascots”[citation needed]. The post-Bogart version of the group (Bogart died in 1957) was reportedly never called that name by any of its members — they called it the Summit or the Clan. “The Rat Pack” was a term used by journalists and outsiders, although it remains the lasting name for the group.

Often, when one of the members was scheduled to give a performance, the rest of the Pack would show up for an impromptu show, causing much excitement among audiences, resulting in return visits. They sold out almost all of their appearances, and people would come pouring into Las Vegas, sometimes sleeping in cars and hotel lobbies when they could not find rooms, just to be part of the Rat Pack entertainment experience. The Rat Pack’s appearances were unprecedentedly valuable because the city would always become flooded with high rollers, wealthy gamblers who would routinely leave substantial fortunes in the casinos’ coffers. The marquees of the hotels at which they were performing as individuals would read, for example, “DEAN MARTIN – MAYBE FRANK – MAYBE SAMMY” as seen on a Sands Hotel sign.

Peter Lawford was a brother-in-law of President John F. Kennedy (dubbed “Brother-in-Lawford” by Sinatra), and the group played a role in campaigning for him and the Democrats, appearing at the July 11, 1960 Democratic National Convention in Los Angeles. Lawford had asked Sinatra if he would have Kennedy as a guest at his Palm Springs house in March 1962, and Sinatra went to great lengths (including the construction of a helipad) to accommodate the President. When Attorney General Robert F. Kennedy advised his brother to sever his ties to Sinatra because of the entertainer’s association with Mafia figures such as Sam Giancana, the stay was cancelled. Kennedy instead chose to stay at rival Bing Crosby’s estate, which further infuriated Sinatra.[10] Lawford was blamed for this, and Sinatra “never again had a good word for (him)” from that point onwards. Lawford’s role in the upcoming 4 for Texas was written out, and his part in Robin and the 7 Hoods was given to Bing Crosby.

On June 20, 1965, Sinatra, Martin, and Davis, with Johnny Carson as the emcee (substituting for Bishop, who was out with a bad back), performed their only televised concert together during the heyday of the Pack at the Kiel Opera House in St. Louis, a closed-circuit broadcast done as a fundraiser for Dismas House (the first halfway house for ex-convicts) and fed live to movie theatres across the country. Thirty years later Paul Brownstein tracked down a print of the “lost” show in a St. Louis closet after someone noticed mysterious cameras onstage during a CBS documentary on Sinatra which filmed part of the show. It has since been broadcast on Nick at Night (in 1998) as part of The Museum of Television & Radio Showcase series and released on DVD as part of the Ultimate Rat Pack Collection: Live & Swingin.

Why they’re style icons
The 30-something circuit is familiar with the Brat Pack — the coming-of-age celeb set of ‘80s stars like Molly Ringwald and Anthony Michael Hall made famous by feel-good John Hughes films. And Generation Y is likewise no stranger to the Frat Pack of comedic heroes including Jack Black, Vince Vaughn, Ben Stiller, and Steve Carell. Both A-list crowds deserve a rousing laugh and their rightful place in cinematic history.

Long before any of them were around, however, there was the ultimate “in” crowd: The Rat Pack. The timeless troupe — consisting of Frank Sinatra, Dean Martin, Sammy Davis, Jr., Peter Lawford, and Joey Bishop — was led by the group’s public relations master, Humphrey Bogart, and it was the essence of entertainment. The Rat Pack lit up the Vegas strip in the 1960s and turned it into the star-studded playground it is today.

Gaining membership to this exclusive club took more than singing, dancing and acting, (and martini-downing, cigarette smoking and womanizing). The Rat Pack marked an era because of the fashions that defined the men who were fortunate enough to be a part of it. These were the last days of true Hollywood glamour, characterized by impeccable yet effortless tailoring. Sharkskin suits, slim ties and fitted dress shirts were hallmarks of the Rat Pack style.

Despite the stuffy sound of this silhouette, these men didn’t shop on the Champs-Élysées. Instead, Sunset Boulevard was home to the team’s tailors of choice. Sammy got his trousers pencil thin and Dino sought out shirts with French cuffs and a 3/8-inch pleated front. Each one in the group had his own distinct flavor, but there was a cohesive message they gave to everyone around them: Party like a rock star, dress like a gentleman.

Dress the rat pack way
A strategically undone bow tie is about as casual as the Rat Pack ever got. And for today’s upwardly mobile masses that currently tend toward Frat rather than Rat, it can seem like a nearly impossible and impractical sense of style to achieve. However, being buttoned-up doesn’t have to be difficult or unrealistic. Paying homage to Ocean’s Eleven (the original Rat Pack rendition, not the Pitt-Clooney cover) is easier than you’d think.

A shawl collar jacket and tuxedo shirt can be reinterpreted by paring them with dark, slim-fit denim. And if that’s still too much, deconstruct the dress code further by going for a simple signature pocket square and fedora — or perhaps that undone bow tie.

The Rat Pack: Style Icon – AskMen.com.

Montgomery Clift – Style Icon

NAME: Edward Montgomery Clift
OCCUPATION: Film Actor
BIRTH DATE: October 17, 1920
DEATH DATE: July 23, 1966
PLACE OF BIRTH: Omaha, Nebraska
PLACE OF DEATH: New York, New York

BEST KNOWN FOR: Actor Montgomery Clift starred in films like Red River (1948), A Place in the Sun (1951), and From Here To Eternity (1953).

Edward Montgomery Clift (October 17, 1920 – July 23, 1966) was an American film and stage actor. The New York Times’ obituary noted his portrayal of “moody, sensitive young men”.

He invariably played outsiders, often “victim-heroes,” – examples include the social climber in George Stevens’s A Place in the Sun, the anguished Catholic priest in Hitchcock’s I Confess, the doomed regular soldier Robert E. Lee Prewitt in Fred Zinnemann‘s From Here to Eternity, and the Jewish GI bullied by antisemites in Edward Dmytryk’s The Young Lions. Later, after a disfiguring car crash in 1956, and alcohol and prescription drug abuse, he became erratic. Nevertheless important roles were still his, including “the reckless, alcoholic, mother-fixated rodeo performer in Huston’s The Misfits, the title role in Huston’s Freud, and the concentration camp victim [sic] in Stanley Kramer‘s Judgment at Nuremberg.”

Clift received four Academy Award nominations during his career, three for Best Actor and one for Best Supporting Actor.

Paul Newman – Style Icon

NAME: Paul Newman
OCCUPATION: Film Actor, Theater Actor, Television Actor, Race Car Driver, Entrepreneur
BIRTH DATE: January 26, 1925
DEATH DATE: September 26, 2008
EDUCATION: Kenyon College, Yale School of Drama
PLACE OF BIRTH: Cleveland, Ohio
PLACE OF DEATH: Westport, Connecticut

BEST KNOWN FOR: Paul Newman came to be known as one of the finest actors of his time. He also started the Newman’s Own food company, which donates all profits to charity.

Paul Leonard Newman (January 26, 1925 – September 26, 2008) was an American actor, film director, entrepreneur, humanitarian, professional racing driver and auto racing enthusiast. He won numerous awards, including an Academy Award for best actor for his performance in the 1986 Martin Scorsese film The Color of Money and eight other nominations, three Golden Globe Awards, a BAFTA Award, a Screen Actors Guild Award, a Cannes Film Festival Award, an Emmy award, and many honorary awards. He also won several national championships as a driver in Sports Car Club of America road racing, and his race teams won several championships in open wheel IndyCar racing.

Newman was a co-founder of Newman’s Own, a food company from which Newman donated all post-tax profits and royalties to charity. As of July 2011, these donations exceeded $300 million.

Why He’s A Style Icon

Few American film actors transcend a role, character or film to become icons on the global stage. However, Paul Newman achieved his vaulted place in the pantheon of men to place somewhere between matinee idol/Academy Award winner, and even turned his focus to philanthropy and motor racing. You may not have seen his earlier films, but you certainly know his work in Butch Cassidy and the Sundance Kid and the penultimate guy film Cool Hand Luke. Made in a time when stories drove actors to work harder and reveal more, these films secured Paul Newman as a star while ensuring his iconic status in fashion. In a sense, his is the one and only example of American minimalism in acting and fashion. Though he leans toward the traditional, he does not need wild hairstyles or facial hair to imbue his characters with pathos. Instead, he utilizes the clothes on his back and the way he moves in them to translate for all of us what a man should be.

Dress The Newman Way

You could choose a slim-cut charcoal suit with skinny lapels, a dark tie and cufflinks reminiscent of Newman’s Fast Eddie Felson from The Hustler, or the crisp Oxford button-downs from Cat On a Hot Tin Roof to emulate Newman’s fastidious on-screen look. Then again, you could pull on a denim Oxford in a pale blue much like the one he wore in Cool Hand Luke. We know you don’t want to work on a chain gang and tar roads, but the masculine and rugged casualness of the denim Oxford speaks directly to the hard-edged character that lies beneath all of Paul Newman’s portrayals. Long before Ralph Lauren revived this look for himself and his RL line with this denim western shirt, Paul Newman had men lining up to drape themselves in denim and to imagine themselves as tough and as cool as the man they saw on the silver screen.