Martin and I found this antique musical Santa snow globe at an old curiosity shoppe.

Christmas Snow Globe 2015

At the time it was a splurge for us—thirty dollars—but how could we resist? Turns out the shop owner had just polished its brass base that very morning before putting it in the shop window. "I knew it would go quickly," he said, chuckling. The shop is gone now. Still, I'm sure he'd be happy to know it's given us many years of joy. Every time I hear its version of "Santa Claus Is Coming to Town," I have to smile.

—Josie

“I don’t mind living in a man’s world…”

Marilyn-monroe-reading

 

"…as long as I can be a woman in it."

— Marilyn Monroe

 

____________________________

 

 

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Woman gets her jollies on a San Francisco Cable Car. One hundred lovers and a $50K settlement later…

Judy-st.-louis

l love this article, from the archives of the San Francisco Chronicle. Brings to mind one of my favorite Judy Garland classics,  "The Trolley Song," from the musical, "Meet Me in St. Louis:"

Love this lyric: "I went to lose a jolly".

I'll just bet you did,

— Josie

"Cable Car Nymph"

Excerpted from

"San Francisco's Top 10 Sex Scandals"
Kevin Fagan, San Francisco Chronicle 
Published 4:00 am, Thursday, May 28, 2009

It was supposed to be a routine trip on the Hyde Street cable car in 1964, the 29-year-old woman said. But when the car lurched and she was heaved against a pole, the collision "somehow unleashed emotions hidden deep in the dark closet of her mind," The Chronicle reported – and thus was born "The cable car nymphomaniac" who took a trip on the "Cable Car Named Desire."

The woman sued Muni for $500,000 six years later, saying her injuries had triggered an insatiable sexual desire that drove her to take 100 lovers, leaving her perpetually unsatisfied. Reporters left her name out of news accounts, to protect her privacy, referring to her instead by her nickname, or as "the buxom blonde" from Michigan.

She was awarded $50,000 by a jury, whose members said they hoped she would use it for counseling.

(c) 2009 San Francisco Chronicle

 

 

With my high starched collar

And my high topped shoes

And my hair

Piled high upon my head

I went to lose a jolly

Hour on the Trolley

And lost my heart instead

 

With his light brown derby

And his bright green tie

He was quite

The handsomest of men

I started to yen

So I counted to ten

Then I counted to ten again

 

Clang, clang, clang went the trolley

Ding, ding, ding went the bell

Zing, zing, zing went my heartstrings

From the moment I saw him I fell

Chug, chug, chug went the motor

Bump, bump, bump went the brake

Thump, thump, thump went my heartstrings

When he smiled I could feel the car shake

He tipped his hat

And took a seat

He said he hoped he hadn't

Stepped upon my feet

He asked my name

I held my breath

I couldn't speak because

He scared me half to death

 

Buzz, buzz, buzz went the buzzer

Plop, plop, plop went the wheels

Stop, stop, stop went my heartstrings

As he started to go

Then I started to know

How it feels

When the universe reels

The day was bright

The air was sweet

The smell of honeysuckle

Charmed you off your feet

You tried to sing

But couldn't squeak

In fact, you loved him

So you couldn't even speak

 

Buzz, buzz, buzz went the buzzer

Plop, plop, plop went the wheels

Stop, stop, stop went my heartstrings

As he started to leave

I took hold of his sleeve

With my handAnd as if it were planned

He stay on with me

And it was grand just to stand

With his hand holding mine

Till the end of the line

 

Clang, clang, clang went the trolley

Zing, zing, zing went my heart

 

Songwriters: HUGH MARTIN/BLANE, RALPH

Published byLyrics © EMI Music Publishing

 

 

The Almost Marilyn Monroe, Almost Naked

Dixie and Marilyn

The renowned burlesque dancer, Dixie Evans, died this weekend. She was known as burlesque's "Marilyn Monroe." Yes, the resemblance was uncanny! See for yourself.  Here's how she built her act.

Take it off, take it all off,

— Josie

August 10, 2013

Dixie Evans, Who Brought ‘Monroe’ to Burlesque Houses, Dies at 86

By MARGALIT FOX / New York Times

Dixie Evans, a popular stage performer billed as the “Marilyn Monroe of Burlesque” — the first two words in very large letters and the last two in very small ones — died on Aug. 3 in Las Vegas. She was 86.

Her death was announced on the Web site of the Burlesque Hall of Fame in Las Vegas, of which she was a former curator and director.

Ms. Evans was a marquee name at midcentury, mentioned in the same avid breath as Gypsy Rose Lee, Sally Rand and Lili St. Cyr. In later years, she was featured in newspaper articles and television programs about burlesque and appeared in the 2010 documentary “Behind the Burly Q.”

She was profiled in the 1996 book “Holding On: Dreamers, Visionaries, Eccentrics, and Other American Heroes,” by David Isay, with photographs by Harvey Wang.

Reflecting on her unlikely stardom in a 1992 interview with CNN, Ms. Evans said, “I was not that talented and I wasn’t that pretty.”

But her close-enough resemblance to Monroe — enhanced by a peroxide blond coiffure and the uncanny ability of Ms. Evans, who never met her subject, to mimic her speech and shimmy — ensured her success as a locus of transference.

“If you couldn’t meet the real Marilyn,” Ms. Evans told The New York Times in 1998, “you could come to the burlesque and meet me.”

Night after night from the early ’50s onward, at burlesque houses around the country, Ms. Evans took the stage in Monrovian garb and swung into musical numbers that recalled those in Monroe’s films. Unlike Monroe, she ended the numbers far more lightly attired than when she began.

She kept the act going for more than a decade, modifying it enough to mollify Monroe, who at once point threatened to sue. Wherever she played, she drew a devoted, even rarefied, following.

“Walter Cronkite used to come every year to see my act,” Ms. Evans told The Los Angeles Times in 1993.

Frank Sinatra was said to be a fan. So, too, was Joe DiMaggio, who was reported to have visited the show for consolation after his divorce from Monroe in 1954.

Then, in 1962, Monroe’s suicide rendered the act obsolete overnight. As Ms. Evans told The San Francisco Chronicle in 2002, “When she died, I died.”

She held a string of jobs, doing public relations for a hotel in the Bahamas and working as a nurse’s aide in California, before an abandoned goat ranch in a dusty Western town afforded her an improbable return to burlesque’s glittering glory.

 

Mary Lee Evans was born on Aug. 28, 1926, in Long Beach, Calif., to a well-to-do family. Her father, an oilman, died when she was a girl, and the family fortunes declined precipitously. Young Mary worked in the celery fields and during World War II was an airplane mechanic.

 

Dreaming of stardom, she began her stage career as a chorus girl in touring musicals. One night, in her late teens or early 20s, she found herself stranded in San Francisco between jobs with 50 cents in her pocket. She discovered that the local burlesque theater paid four times what she had been earning.

 

A few years later, when Ms. Evans was performing at a Minsky’s burlesque house in Newark, Harold Minsky, the son of the impresario Abraham Minsky, transformed her into Marilyn.

In the late 1980s, Ms. Evans learned that her friend Jennie Lee, a retired burlesque star, was terminally ill with cancer. Ms. Lee, who was living on a former goat ranch in the desert in Helendale, Calif., had created a de facto museum there from her old memorabilia.

Ms. Evans moved in to help care for her, assuming responsibility for the collection after Ms. Lee’s death in 1990. She expanded it into the Exotic World Burlesque Museum and Striptease Hall of Fame, whose holdings included Jennie Lee’s silver-sequined pasties, Gypsy Rose Lee’s wardrobe trunk, the cremated remains of the burlesque queen Sheri Champagne and — perhaps the collection’s most curious artifact — a photograph of Lili St. Cyr with Eleanor Roosevelt.

In 1991, Ms. Evans founded the Miss Exotic World pageant, an annual competition she liked to call the Olympics of burlesque.

In 2006 Ms. Evans moved the competition and the museum, now known as the Burlesque Hall of Fame, to Las Vegas, where she made her home from then on.

 

Ms. Evans’s marriage to Harry Braelow, a prizefighter, ended in divorce. Survivors include a sister, Betty, and many nieces and nephews.

For years in the 1950s, Ms. Evans was a fixture at the Place Pigalle, a burlesque house in Miami Beach. One night, she was arrested.

“Whenever it was election time in Miami, they’d raid the strip joints,” she told The Los Angeles Times in 2009. “I told the judge, ‘Your Honor, this is the same act you saw at the policemen’s show.’ ”

His Honor dropped the charges.

This article has been revised to reflect the following correction:

Correction: August 11, 2013

An earlier version of this obituary omitted a survivor, Ms. Evans’s sister, Betty.

(c) 2013 New York Times


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NaNoWriMo Tip #7: Chapter doesn’t work? Fix it in “post.”

Microphone ready to present at a book store

Both my husband and I have broadcast backgrounds. One very important lesson we learned in those previous gigs serves us well when we're editing text articles or, in the case of National Novel Writing Month, novels:

Should you feel something isn't working on your project, you can always fix it later.

Broadcast producers can always rely on post-production: the time spent in the production booth, editing the footage shot or recorded for the project. If, while shooting the segment, what you're getting on camera runs too long (exposition; needless scenes, etc), or the subject stutters or talks too much (dialogue) — you rarely say “Cut” and start over. Instead, you'd wait until you were in the studio and saw the raw footage to determine which scenes needed to be trimmed.

The same goes for your manuscript. You job over the next few weeks is to put the story on the page. Afterward, you'll go through it page by page, chapter by chapter. If something reads false, go ahead and chop and dice it, until it reads to your satisfaction.

This won't happen in second draft either. You'll go through several drafts before you're truly pleased with your work.

Even after it sells to a publishing house (YES IT WILL SELL; YOU MUST BELIEVE THAT) you'll get notes back from your editor on how a scene or character should be tweaked. Then it will go through copy edits, where someone with a better grasp than you of grammar and syntax will take a shot at it, as well.

Because when it's ready for its public debut, your readers deserve the best story possible.

_________________________________________

READ YESTERDAY'S  TIP, HERE…

__________________________________________

I've got a question for you, and be honest: How many times do you read a chapter before you write the next one?

— Josie