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#Dominic DiMaggio
newyorkthegoldenage · 2 years
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The DiMaggio brothers, centerfielders whose exploits made baseball history, at Old Timers' Day in Yankee Stadium, August 9, 1958. Joe, center, former Yankees' star, was joined by Vince, left, of the Pittsburgh Pirates, and Dominic, right, his counterpart and competitor on the Boston Red Sox.
Photo: AP via the Denver Post
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themattress · 5 months
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Favorite Arch Enemies
Beyond all of the ones that I've already covered, anyway.
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The Joker - Here he is, at long last. The man, the legend, the Clown Prince of Crime himself. In my opinion, the Joker is the greatest arch-nemesis in the history of fiction because he compliments his heroic adversary perfectly. Batman is a dark, brooding, frightening figure with a semi-demonic visage, yet he is a hero dedicated to the cause of justice and protecting the innocent citizens of Gotham City. The Joker is a bright, colorful, exuberant and funny clown, something that's supposed to bring joy and laughter to others, yet he is a nihilistic, psychopathic criminal whose only goal in life is to spread death, destruction and chaos through Gotham City because that's what brings him joy and laughter. It's just such a natural conflict: the miserable vigilante vs. the happy murderer, law vs. anarchy, order vs. chaos, hope vs. despair, purpose vs. purposelessness....a battle that is truly timeless, which is why it has endured since 1940. Outside of comic books, the Joker has been depicted masterfully by Cesar Romero, Jack Nicholson, Heath Ledger, Cameron Monaghan, Joaquin Phoenix, Barry Keoghan, Kevin Michael Richardson, Jeff Bennett, Richard Epcar, John DiMaggio, Michael Emerson, Troy Baker, Christopher Corey Smith, Zack Galifianakis, Jeff Bergman, Tony Hale, Alan Tudyk, Mick Wingert.....and of course by Mark Hamill, perhaps his definitive portrayer.
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Doctor Octopus - In the realm of comic book superheroes, Spider-Man's assortment of villains comes second only to Batman's. And his arch-foe is Doctor Otto Octavius, aka "Doc Ock". Octavius is much like Peter Parker, except older, crankier, and much more prideful. Like Peter, he invokes an eight-legged creature - an octopus rather than a spider - and takes it a step further through the usage of four mechanical arms attached to his spine. But while Peter had to learn to put aside his hurt feelings and inflated ego because "with great power comes great responsibility", Ock is more a believer in "with great power comes great domination of everyone weaker". Many of Spider-Man's greatest battles have been against this mad genius who seeks to enforce his sense of superiority upon the world. Actors who have portrayed Ock outside of comics include Vernon Chapman, Stan Jones, Michael Bell, Efrem Zimbalist Jr., Rodger Bumpass, Alfred Molina, Joe Alaskey, Peter MacNicol, Tom Kenny, Scott Menville and William Salyers, with Kathryn Hahn portraying a female version in Into the Spider-Verse.
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alienfuckeronmain · 2 years
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apologies if this is ancient info to you, but did you ever read about possibly ace-lesbian marilyn monroe? as in, she wrote about not really being interested in sex, but also about women a lot (+ I believe the affair with her acting teacher, I've gotta reread) there was a whole post of interesting stuff that if I'm remembering she wasn't even quiet about, people just weren't taking it onboard.... generally tho the world didn't deserve marilyn :(
Yes!!! So there is EXTENSIVE documentation concerning Marylin's preference for women, both sexually and romantically! Joe Dimaggio actually cited it as the reason for their divorce, and many of her noted sexual exploits with men have turned out to be fabricated.
I think the "ace" lesbian moniker comes from her acting teacher Natasha Lytess, who said that Marylin loved walking around their home naked but hated sex. However, outside of Lytess, many of the women Marylin was with said she was very sexually aggressive and confident with them, so she DID enjoy and seek out sex with women as well. She famously had flings with Elizabeth Taylor, Barbara Stynwyck, Marlene Detrich, and Joan Crawford (all of a very brief and sexual in nature.) She also had a sexual relationship with the teenage head of her fanclub, Jane Lawrence. There's a book on this affair.
Lytess, her acting coach, was very domineering and Marylin's senior by a significant amount. They were essentially married and lived together for seven years, and I suspect the dynamic in that relationship was colored by other power differentials, so basing Marylin's perception of sex with women in general off of comments Lytess made doesn't feel nuanced enough for me! Marylin had a very very complicated relationship with sex as a result of her coerced status as a sex symbol, her terror around having children, her endometriosis, and her history of genetic mental illness. I am always hesitant to apply contemporary and specified sexuality/identity terms like ace or lesbian onto people posthumously, because they cannot advocate for themselves nor did those words carry the exact same meaning then as they do now. But based on the numerous accounts of Marylin's affairs with both men and women, it's safe to say she was absolutely queer and preferred women.
Marylin Monroe is such an amazing woman with an amazing history and legacy. I love her so much and have such a deep compassion and pain surrounding her death and the continued horrible treatment of her body after she died. All that happened to her is a really salient reminder for how brutal and horrible men and the entertainment industry can be, and knowing she was also queer hits all the closer to home. I love her so much.
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mrgladstonegander · 1 year
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In terms of voice actors on DuckTales 2017, there were professional VAs did play major supporting roles too like Keith Ferguson as Glomgold, Eric Bauza as the Beagle Boys, Kimiko Glenn as Lena, Kari Wahlgren as Roxanne Featherly, David Kaye as Duckworth, and April Winchell as Black Heron plus various prominent professional VA guest stars like Jim Cummings, Rob Paulsen, Dee Bradley Baker, Tom Kenny, Grey Griffin, Jeff Bennett, and John DiMaggio so they were some even if celebs were dominant.
for most of those roles, even if the characters appeared in multiple episodes, i'd say most of those are side characters (though, some of them Are important)
if im remembering the post you're referring to correctly, i was mainly talking abt the main cast (scrooge, hdl, webby)
david tennant is scottish so he gets a pass
danny puddy (huey) is mainly an actor, ben shwartz (dewey) is mainly an actor/comedian (he also gets a pass because he has the whole 90's Blue Middle Child), and bobby moynihan (louie) is also mainly a comedian/actor. kate micucci (webby) is a voice actor tho, but thats 1/5 of the main cast with a Voice Actor
beakley, fenton, gyro, della, and launchpad are Also mainly writers/actors (feel free to correct me if im wrong)
im not saying that ducktales Only has actors for voices, but what i meant by it is that most of it is. also wasnt saying that the actors did a bad job, just that, with (western) cartoons, there Is kind of a problem with shows+movies having actors+celebrities for VAs, instead of people's who's jobs are to Do That
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dan6085 · 6 months
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Ranking the top 20 baseball players of all time is a subjective task, as opinions may vary, but here is a list of 20 legendary baseball players along with brief details about their careers and achievements:
1. Babe Ruth (1895-1948):
- Often regarded as the greatest baseball player ever.
- Known for his powerful hitting and home run records.
- 714 career home runs.
2. Willie Mays (1931-2021):
- An exceptional outfielder and all-around player.
- 660 career home runs.
- 24-time All-Star.
3. Hank Aaron (1934-2021):
- Broke Babe Ruth's home run record with 755 career home runs.
- Consistent hitting and power throughout his career.
4. Ted Williams (1918-2002):
- Regarded as one of the greatest hitters in history.
- Last player to hit over .400 in a season (.406 in 1941).
- 521 career home runs.
5. Lou Gehrig (1903-1941):
- Known for his incredible durability.
- Career .340 batting average.
- Played in 2,130 consecutive games (a record at the time).
6. Mickey Mantle (1931-1995):
- Powerful switch-hitter.
- 536 career home runs.
- 3-time MVP and 20-time All-Star.
7. Ty Cobb (1886-1961):
- Holds the highest career batting average at .366.
- Legendary for his speed and base-stealing ability.
- 12-time batting champion.
8. Joe DiMaggio (1914-1999):
- Known for his 56-game hitting streak in 1941.
- 9-time World Series champion.
- Elegant center fielder.
9. Jackie Robinson (1919-1972):
- Broke the color barrier in MLB.
- Highly skilled infielder and base runner.
- 1947 Rookie of the Year.
10. Stan Musial (1920-2013):
- Consistent hitter with 3,630 career hits.
- 7-time batting champion.
- 24-time All-Star.
11. Sandy Koufax (1935-):
- Dominant left-handed pitcher.
- 3-time Cy Young Award winner.
- 4 no-hitters and an impressive career ERA.
12. Rogers Hornsby (1896-1963):
- One of the greatest second basemen.
- Career .358 batting average.
- 2-time Triple Crown winner.
13. Cy Young (1867-1955):
- Holds the record for most career wins (511).
- Pitched three no-hitters.
- Legendary control and longevity.
14. Bob Gibson (1935-2020):
- Dominant pitcher for the St. Louis Cardinals.
- 2-time Cy Young Award winner.
- Known for his fierce competitiveness.
15. Nolan Ryan (1947-2021):
- Holds the record for career strikeouts (5,714).
- Pitched seven no-hitters.
- Known for his blazing fastball.
16. Cal Ripken Jr. (1960-):
- Set the record for consecutive games played (2,632).
- Versatile infielder and power hitter.
- 2-time MVP.
17. Derek Jeter (1974-):
- Iconic shortstop for the New York Yankees.
- 5-time World Series champion.
- Known for clutch performances.
18. Greg Maddux (1966-):
- Crafty pitcher with exceptional control.
- 4-time Cy Young Award winner.
- 18 Gold Gloves.
19. Albert Pujols (1980-):
- Power-hitting first baseman.
- Multiple MVP awards.
- Over 600 career home runs.
20. Randy Johnson (1963-):
- Towering left-handed pitcher with over 300 wins.
- 5-time Cy Young Award winner.
- Struck out 4,875 batters in his career.
These players left an indelible mark on the history of baseball, each contributing their unique skills and achievements to the sport's rich legacy.
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itchytesticals · 1 year
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Dominic “Dom” DiMaggio and older brother Joe posing for a photo (1940)
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FACING NOLAN (2022)
Featuring Nolan Ryan, President George W. Bush, Craig Biggio, Steve Buechele, George Brett, Rod Carew, Roger Clemens, Tom Grieve, Tom House, Randy Johnson, Pete Rose, Ivan Rodriguez, Bobby Valentine, Dave Winfield, Bobby Witt, Jerry Grote, Phil Garner, Jeff Torborg, Bobby Grich, Cal Ripken Jr., Craig Reynolds, Enos Cabell, Kevin Bass, Art Howe, Alan Ashby, Jose Cruz Sr., Terry Puhl, Mike Scott, Mike Maddux, Rob Goldman, Barry Warner, John McClain, Aubrey Horner, George Pugh, Ann Ferguson McDougal, Ruth Ryan, Reid Ryan, Reese Ryan, Wendy Bivins, Victoria Ryan, Caroline Ryan, Ella Ryan and Julia Ryan.
Written by Bradley Jackson.
Directed by Bradley Jackson.
Distributed by Utopia. 105 minutes. Not Rated.
While for decades the popular opinion has been that the one most-unbreakable record in baseball is Joe DiMaggio’s 56 game hitting streak, I’ve always disagreed. Yes, that is a spectacular achievement and in the 81 years since it happened only three players have come within 20 games of breaking the record. (Pete Rose had a 44-game streak in 1978, Paul Molitor had a 39-game streak in 1987 and Jimmy Rollins had a 38-game streak spanning the 2005 and 2006 seasons.)
Still, there has always been a record that I felt was even more unlikely to break than that one. It is simply this: Nolan Ryan pitched SEVEN no-hitters in his career. Think about that. Some of the greatest pitchers ever have never gotten one no-hitter. Sandy Koufax is the only other pitcher in history who has as many as four. Only four have had as many as three (Cy Young, Justin Verlander, Bob Feller and Larry Corcoran).
Add to that the fact that in modern baseball it is rare for a starting pitcher to be allowed to pitch a full game, the chances of anyone even getting a whiff of Ryan’s record are infinitesimal.
Not just because of this record, but I can say as a life-long baseball fan who has seen many, many superstars over the years, Nolan Ryan was the single most dominating pitcher that I have ever seen.
He’s not always thought of when people bring up the all-time greats, mostly because he tended to play for fairly bad teams, thus his win-loss records were a little spotty and he rarely made the playoffs. In fact, he only was on one World Series-champion team in a near-30-year career, the 1969 “Miracle” Mets, and at the time he was a youngster who was pitching out of the bullpen. Also his 100-mile-an-hour fast ball (in a time when that was exceedingly rare) could be a little wild.
However, think of this: beyond the record for no-hitters, he also holds the record for one-hitters (12, tied with Bob Feller), two-hitters (18) and three hitters (31). He also holds the career record for strikeouts (5,714), 300-strikeout seasons (6) and 200-strikeout seasons (15). That my friends, is domination.
Of course, he also has the record for most walks allowed, too. Go big or go home.
Facing Nolan is entertaining as a sports documentary because that is exactly what it is. Like its subject, it has no major bells and whistles, just an hour and 45 minutes mostly made up of some fantastic film of 27 years of pitching dominance.
Oh, sure, periodically the film will veer off into other subjects, mostly exploring Ryan’s obvious great love of his family, which appears to be the one thing on Earth that is even more important to the man than baseball is. It also touches on his outside work as a spokesman (there is a funny scene where two of Ryan’s granddaughters good-naturedly mock his old Advil ads), his love of animals, his ranch and Texas, and his induction into the Baseball Hall of Fame.
But mostly, Facing Nolan puts you in the batter’s box as one of the greatest pitchers – if not THE greatest pitcher – in the game wove his magic. They literally got dozens of former major leaguers – both teammates and opponents – to discuss the sheer dominance that Ryan exhibited in his 27 seasons in the big leagues.
However, even more interesting is letting the big guy talk about himself. He may be a legend, but he’s also humble and funny about his place in the show. Unlike his former opponents, no baseball fan should hesitate about Facing Nolan.
Jay S. Jacobs
Copyright ©2022 PopEntertainment.com. All rights reserved. Posted: June 26, 2022.
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philmax2018 · 2 years
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DiMaggio brothers credit mom with their successes
Rosalie Mercurio DiMaggio, a Sicilian immigrant, bore nine children, three of whom became Major League center fielders. Since the boys' father, San Francisco fisherman Giuseppe, considered baseball “a bum's game,” Rosalie covered for the Vince, Dominic and Joe Jr. so they could practice with other local boys. Then and now, the Bay Area was a hotbed of baseball talent that included Barry Bonds, Billy Martin, Keith Hernandez, Gil McDougald, seven-time All-Star Joe Cronin, and four-time AL batting champion Harry Heilmann. from Korea Times News https://ift.tt/JStwYrW via IFTTTDiigo Blogger Tumblr Evernote
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geek-gem · 3 years
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Sonic Resurgence
*This isn’t something I may not develop more...but I wanted to make this before June 23rd 2021 ends. This was something that was in my mind. It was tricky to decide the name for this thing. Mainly for part 1, but I should’ve of just thought of this title being for this reimagining.
While I seriously think it will be a long time or Sega may never reboot this franchise. This is basically my reimagining of the Sonic franchise. Including this was inspired by my crazy movie adaptions idea for the Sonic franchise. This seems much better fitting for a video game. So...just something I wanna make if I ever do anything with it. It’s mainly gonna be one thing. But I have thought of the next two parts.*
Part 1: Metallic Reflections.
Part 2: Countdown To Chaos/The God Of Chaos. Featuring Chaos, Knuckles, and Tikal. Maybe Big and whoever else.
Part 3: The Ultimate Lifeform: The story of Shadow.
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The resurgence is here. A hero will rise.
Despite being an outcast and loner for most of his life. Sonic, a hedgehog and young adult, has been selfless for most of his life. Trying to help people and do good as much as he can. But when a mysterious blue blur starts terrorizing people and destroying places around the world. He is framed and chased by the military. Now for maybe the first time in his life, Sonic must need the help of new friends to help him stop this new menace and clear his name.
And as soon as they discover who they are facing. It is the now returning Dr. Ivo Robotnik who has gone rogue. And his greatest and most fearsome creation, Metal Sonic. Who was inspired by Sonic himself.
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Possibly hero story: An outcast and loner, but selfless and brave. Sonic is framed for crimes he didn’t commit. He must now need the help of new friends such as Tails, Amy Rose, a mother and her daughter to help stop this threat and clear his name.
During this adventure, Sonic for the first time experiences the feeling of genuine friendship, family, and brotherhood. As he must bring out all he has with his power to run incredibly fast to stop the the sinister Dr. Robotnik, the nearly unstoppable Metal Sonic, and the unknown Rouge the bat from not only possibly conquering the planet. But taking the first thing he has considered family.
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Possibly dark story: Dr. Ivo Robotnik knowing he has the power to control and dominate, decides to go rogue. To make sure he wins, he gets inspired by the legend of the Blue Blur himself and decides to make his greatest creation. Metal Sonic. A robot as fast and as strong as Sonic.
Joined by an unknown treasure hunter known as Rouge the bat. Who seems like who wants to help them. But who seems to have other planes. During all of this as he fights his original counterpart. Metal starts questioning his own existence and his own loyalty. But most importantly, what it means to be Sonic, but who is the real Sonic?
Josh Keaton as Sonic The Hedgehog/Metal Sonic.
John DiMaggio as Dr. Ivo Robotink.
Zach Callison as Miles Tails Prower.
Jill Harris as Amy Rose.
Nicole Tompkins as Rouge The Bat.
Wendie Malick as Erica Regine.
Erica Lindbeck as Katelyn Regine.
Really wanted to get this done before 12 and it’s 11:51 pm right now.
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monroetalks · 3 years
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The Woman Who Will Not Die: an essay about Marilyn Monroe by Gloria Steinem
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It has been nearly a quarter of a century since the death of a minor American actress named Marilyn Monroe. There is no reason for her to be a part of my consciousness as I walk down a midtown New York street frilled with color and action and life.
In a shop window display of white summer dresses, I see several huge photographs – a life-size cutout of Marilyn standing in a white halter dress, some close-ups of her vulnerable, please-love-me smile – but they don’t look dated. Oddly, Marilyn seems to be just as much a part of this street scene as the neighboring images of models who could now be her daughters – even her granddaughters. I walk another block and pass a record store featuring the hit albums of a rock star named Madonna. She has imitated Marilyn Monroe’s hair, style, and clothes, but subtracted her vulnerability. Instead of using seduction to offer men whatever they want, Madonna uses it to get what she wants – a 1980’s difference that has made her the idol of teenage girls. Nevertheless, her international symbols of femaleness are pure Marilyn.
A few doors away, a bookstore displays two volumes on Marilyn Monroe in its well-stocked window. The first is nothing but random photographs, one of many such collections that have been published over the years. The second is one of several recent exposes on the circumstances surrounding Monroe’s 1962 death from an accidental or purposeful overdose of sleeping pills. Could organized crime, Jimmy Hoffa in particular, have planned to use her friendship with the Kennedys and her suicide – could Hoffa and his friends even have caused that suicide – in order to embarrass or blackmail Robert Kennedy, who was definitely a mafia enemy and probably her lover? Only a few months ago, Marilyn Monroe’s name made international headlines again when a British television documentary on this conspiracy theory was shown and a network documentary made in the United States was suppressed, with potential pressure from crime-controlled unions or the late Robert Kennedy’s family as rumored reasons.
I knew I belonged to the public and to the world, not because I was talented or even beautiful but because I had never belonged to anything or anyone else. — From the Unfinished Biography of Marilyn Monroe
As I turn the corner into my neighborhood, I pass a newsstand where the face of one more young Marilyn Monroe look-alike stares up at me from a glossy magazine cover. She is Kate Mailer, Norman Mailer’s daughter, who was born the year that Marilyn Monroe died. Now she is starring in “Strawhead,” a “memory play” about Monroe written by Norman Mailer, who is so obsessed with this long-dead sex goddess that he had written one long biography and another work – half fact, half fiction – about her, even before casting his daughter in this part.
The next morning, I turn on the television and see a promotion for a show on film director Billy Wilder. The only clip chosen to attract viewers and represent Wilder’s entire career is one of Marilyn Monroe singing a few breathless bars in Some Like It Hot, one of two films they made together.
These are everyday signs of a unique longevity. If you add her years of movie stardom to the years since her death, Marilyn Monroe has been a part of our lives and imaginations for nearly four decades. That’s a very long time for one celebrity to survive in a throwaway culture.
In the 1930’s, when English critic Cyril Connolly proposed a definition of posterity to measure whether a writer’s work had stood the test of time, he suggested that posterity should be limited to 10 years. The form and content of popular culture were changing too fast, he explained, to make any artist accountable for more than a decade.
Since then, the pace of change has been accelerated even more. Everything from the communications revolution to multinational entertainment has altered the form of culture. Its content has been transformed by civil rights, feminism, an end to film censorship, and much more. Nonetheless, Monroe’s personal and intimate ability to inhabit our fantasies has gone right on. As I write this, she is still better known than most living movie stars, most world leaders, and most television personalities. The surprise is that she rarely has been taken seriously enough fur us to ask why that is so.
One simple reason for her life story’s endurance is the premature end of it. Personalities and narratives projected onto the screen of our imaginations are far more haunting – and far more likely to be the stuff of conspiracies and conjuncture – if they have not been allowed to play themselves out to their logical or illogical ends. James Dean’s brief life is the subject of a cult, but the completed lives of such “outsiders” as Gary Cooper or Henry Fonda are not. Each day in the brief Camelot of John Kennedy inspires as much speculation as each year in the long New Deal of Franklin Roosevelt. The few years of Charlie “Bird” Parker’s music inspire graffiti (“Bird Lives”), but the many musical years of Duke Ellington do not.
When the past dies there is mourning, but when the future dies, our imaginations are compelled to carry it on.
Would Marilyn Monroe have become the serious actress she aspired to be? Could she have survived the transition from sex goddess to mortal woman that aging would impose? Could she had stopped her disastrous marriages to men whose images she wanted to absorb (Beloved American DiMaggio, Serious Intellectual Miller), and found a partner who loved and understood her as she really was? Could she have kicked the life-wasting habits of addiction and procrastination? Would she have had or adopted children? Found support in the growing strength of women or been threatened by it? Entered the world of learning or continued to be ridiculed for trying? Survived and even enjoyed the age of 60 she now would be?
Most important, would she finally have escaped her lifetime combination of two parts talent, one part victim, and one part joke? Would she have been “taken seriously,” as she so badly wanted to be?
We will never know. Every question is as haunting as any of its possible answers.
But the poignancy of this incompleteness is not enough to explain Marilyn Monroe’s enduring power. Even among brief public lives, few become parables. Those that endure seem to hook into our deepest emotions of hope or fear, dream or nightmare, of what our own fates might be. Successful leaders also fall into one group or the other: those who invoke a threatening future and promise disaster unless we obey, and those who conjure up a hopeful future and promise reward if we will follow. It’s this power of either fear or hope that makes a personal legend survive, from the fearsome extreme of Adolph Hitler (Did he really escape? Might he have lived on in the jungles of South America?) to the hopeful myth of Zapata waiting in the hills of Mexico to rescue his people. The same is true for the enduring fictions of popular culture, from the frightening villain to the hopeful hero, each of whom is reincarnated again and again.
In an intimate way during her brief life, Marilyn Monroe hooked into both those extremes of emotion. She personified many of the secret hopes of men and many secret fears of women.
To men, wrote Norman Mailer, her image was “gorgeous, forgiving, humorous, compliant and tender… she would ask no price.” She was the child-woman who offered pleasure without adult challenge; a lover who neither judged nor asked anything in return. Both the roles she played and her own public image embodied a masculine hope for a woman who is innocent and sensuously experienced at the same time. “In fact,” as Marilyn said toward the end of her career, “my popularity seems almost entirely a masculine phenomenon.”
Since most men have experienced female power only in their childhoods, they associate it with a time when they themselves were powerless. This will continue as long as children are raised almost totally by women, and rarely see women in authority outside the home. That’s why male adults, and some females too, experience the presence of a strong woman as a dangerous regression to a time of their own vulnerability and dependence. For men, especially, who are trained to measure manhood and maturity by their distance from the world of women, being forced back to that world for female companionship may be very threatening indeed. A compliant child-woman like Monroe solves this dilemma by offering sex WITHOUT the power of an adult woman, much less of an equal. As a child herself, she allows men to feel both conquering and protective; to be both dominating and admirable at the same time.
For women, Monroe embodies kinds of fear that were just as basic as the hope she offered men: the fear of a sexual competitor who could take away men on whom women’s identities and even livelihoods might depend; the fear of having to meet her impossible standard of always giving – and asking nothing in return; the nagging fear that we might share her feminine fate of being vulnerable, unserious, constantly in danger of becoming a victim.
Aside from her beautiful face, which women envied, she was nothing like the female stars that women moviegoers have made popular. Those stars offered at the least the illusion of being in control of their fates – and perhaps having an effect on the world. Stars of the classic “women’s movies” were actresses like Bette Davis, who made her impact by sheer force of emotion; or Katherine Hepburn, who was always intelligent and never victimized for long; or even Doris Day, who charmed the world into conforming to her own virginal standards. Their figures were admirable and neat, but without the vulnerability of the big-breasted woman in a society that regresses men and keeps them obsessed with the maternal symbols of breasts and hips. Watching Monroe was quite different: women were forced to worry for her vulnerability – and thus their own. They might feel like a black moviegoer watching a black actor play a role that was too passive, too obedient, or a Jew watching a Jewish character who was selfish and avaricious. In spite of some extra magic, some face-saving sincerity and humor, Marilyn Monroe was still close to the humiliating stereotype of a dumb blonde: depersonalized, sexual, even a joke. Yet few women yet had the self-respect to object on behalf of their sex, as one would object on behalf of a race or religion, they still might be left feeling a little humiliated – or threatened – without knowing why.
“I have always had a talent for irritating women since I was fourteen,” Marilyn wrote in her unfinished auto-biography. “Sometimes I’ve been to a party where no one spoke to me for a whole evening. The men, frightened by their wives or sweeties, would give me a wide berth. And the ladies would gang up in a corner to discuss my dangerous character.”
But all that was before her death and the revelations surrounding it. The moment she was gone, Monroe’s vulnerability was no longer just a turn-on for many men and an embarrassment for many women. It was a tragedy. Whether that final overdose was suicide or not, both men and women were forced to recognize the insecurity and private terrors that had caused her to attempt suicide several times before.
Men who had never known her wondered if their love and protection might have saved her. Women who had never known her wondered if their empathy and friendship might have done the same. For both women and men, the ghost of Marilyn came to embody a particularly powerful form of hope: the rescue fantasy. Not only did we imagine a happier ending for the parable of Marilyn Monroe’s life, but we also fantasized ourselves as saviors who could have brought it about.
Still, women didn’t seem quite as comfortable about going public with their rescue fantasies as men did. It meant admitting an identity with a woman who always had been a little embarrassing, and who had now turned out to be doomed as well. Nearly all of the journalistic eulogies that followed Monroe’s death were written by men. So are almost all of the nearly 40 books that have been published about Monroe.
Bias in the minds of editors played a role, too. Consciously or not, they seemed to assume that only male journalists should write about a sex goddess. Margaret Parton, a reporter from the Ladies’ Home Journal and one of the few women assigned to profile Marilyn during her lifetime, wrote an article that was rejected because it was too favorable. She had reported Marilyn’s ambitious hope of playing Sadie Thompson, under the guidance of Lee Strasberg, in a television version of RAIN, based on a short story by Somerset Maugham. (Sadie Thompson was “a girl who knew how to be gay, even when she was sad,” a fragile Marilyn had explained, “and that’s important – you know?”) Parton also reported her own “sense of having met a sick little canary instead of a peacock. Only when you pick it up in your hand to comfort it … beneath the sickness, the weakness and the innocence, you find a strong bone structure, and a heart beating. You RECOGNIZE sickness, and you FIND strength.”
Bruce and Beatrice Gould, editors of the Ladies’ Home Journal, told Parton she must have been “mesmerized” to write something so uncritical. “If you were a man,” Mr. Gould told her, “I’d wonder what went on that afternoon in Marilyn’s apartment.” Fred Guiles, one of Marilyn Monroe’s more fair-minded biographers, counted the suppression of this sensitive article as one proof that many editors were interested in portraying Monroe, at least in those later years, as “crazy, a home wrecker.”
Just after Monroe’s death, one of the few women to write with empathy was Diana Trilling, an author confident enough not to worry about being trivialized by association – and respected enough to get published. Trilling regretted the public’s “mockery of [Marilyn’s] wish to be educated,” and her dependence on sexual artifice that must have left “a great emptiness where a true sexuality would have supplied her with a sense of herself as a person.” She mourned Marilyn’s lack of friends, “especially women, to whose protectiveness her extreme vulnerability spoke so directly.”
“But we were the friends,” as Trilling said sadly, “of whom she knew nothing.”
In fact, the contagion of feminism that followed Monroe’s death by less than a decade may be the newest and most powerful reason for the continuing strength of her legend. As women began to be honest in public, and to discover that many of our experiences were more societal than individual, we also realized that we could benefit more by acting together than by deserting each other. We were less likely to blame or be the victim, whether Marilyn or ourselves, and more likely to rescue ourselves and each other.
In 1972, the tenth anniversary of her death and the birth year of MS., the first magazine to be published by and for women, Harriet Lyons, one of its early editors, suggested that MS. do a cover story on Marilyn called “the woman who died too soon.” As the writer of this brief essay about women’s new hope of reclaiming Marilyn, I was astounded by the response to the article. It was like tapping an underground river of interest. For instance:
Marilyn had talked about being sexually assaulted as a child, though many of her biographers had not believed her. Women wrote in to tell their similar stories. It was my first intimation of what since has become a documented statistic: one in six adult women has been sexually assaulted in childhood by a family member. The long-lasting effects – for instance, feeling one has no value except a sexual one – seemed shared by these women and Marilyn. Yet most were made to feel guilty and alone, and many were as disbelieved by the grown-ups around them as Marilyn had been.
Physicians had been more likely to prescribe sleeping pills and tranquilizers than to look for the cause of Monroe’s sleeplessness and anxiety. They had continued to do so even after she attempted suicide several times. Women responded with their own stories of being over-medicated, and of doctors who assumed women’s physical symptoms were all in their “minds.” It was my first understanding that women are more likely to be given chemical and other arm’s-length treatment, and to suffer from the assumption that they can be chemically calmed or sedated with less penalty because they are doing only “women’s work.” Then, ads in medical journals blatantly recommended tranquilizers for depressed housewives, and even now the majority of all tranquilizer prescriptions are written for women. Acting, modeling, making a living more from external appearance than from internal identity – these had been Marilyn’s lifelines out of poverty and obscurity. Other women who had suppressed their internal selves to become interchangeable “pretty girls” – and as a result were struggling with both lack of identity and terror of aging – wrote to tell their stories.
To gain the seriousness and respect that was largely denied her, and to gain the fatherly protection she had been completely denied, Marilyn married a beloved American folk hero and then a respected intellectual. Other women who had tried to marry for protection or for identity, as women are often encouraged to do, wrote to say how impossible and childlike this had been for them, and how impossible for their husbands who were expected to provide their wives’ identities. But Marilyn did not live long enough to see a time in which women sought their own identities, not just derived ones.
During her marriage to Arthur Miller, Marilyn had tried to have a child – but suffered an ectopic pregnancy, a miscarriage – and could not. Letters poured in from women who also suffered from this inability and from a definition of womanhood so tied to the accident of the physical ability to bear a child – preferably a son, as Marilyn often said, though later she also talked of a daughter – that their whole sense of self had been undermined. “Manhood means many things,” as one reader explained, “but womanhood means only one.” And where is the self-respect of a woman who wants to give birth only to a male child, someone different from herself?
Most of all, women readers mourned that Marilyn had lived in an era when there were so few ways for her to know that these experiences were shared with other women, that she was not alone.
Now women and men bring the last quarter century of change and understanding to these poignant photographs taken in the days just before her death. It makes them all the more haunting. [Editor’s Note: this chapter originally appeared with photographs, which are not present here.]
I still see the self-consciousness with which she posed for a camera. It makes me remember my own teenage discomfort at seeing her on the screen, mincing and whispering and simply hoping her way into love and approval. By holding a mirror to the exaggerated ways in which female human beings are trained to act, she could be as embarrassing – and as sad and revealing – as a female impersonator. Yet now I also see the why of it, and the woman behind the mask that her self-consciousness creates.
I still feel worried about her, just as I did then. There is something especially vulnerable about big-breasted women in this world concerned with such bodies, but unconcerned with the real person within. We may envy these women a little, yet we feel protective of them, too.
But in these photographs, the body emphasis seems more the habit of some former self. It’s her face we look at. Now that we know the end of the story, it’s the real woman we hope to find – looking out of the eyes of Marilyn.
In the last interview before her death, close to the time of these photographs, Patricia Newcomb, her friend and press secretary, remembers that Marilyn pleaded unsuccessfully with the reporter to end his article like this:
What I really want to say: That what the world really needs is a real feeling of kinship. Everybody: stars, laborers, Negroes, Jews, Arabs. We are all brothers. Please don’t make me a joke. End the interview with what I believe.
Published in 1986 and written by Gloria Steinem. 
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www-islandofsodor · 3 years
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Perfect Sodor U.S voice cast (anyone not featured on this list will remain in the role as they were):
Yuri Lowenthal: Thomas
Sam Vincent: Percy
Christopher Daniel Barnes: Toby
Jeff Bergman: Eustace
Billy West: Howard
Dwight Schultz: Dwight
Sam Riegel: Derek the Paxman Diesel
Jeff Bennet: Billy & Duck the Great Western Engine
Mark Williams: Toad the Brakevan
Jennifer Hale: Mavis
Danica McKeller: Rosie
Jim Meskimen: Henry
David Kaye: Edward
Tom Kane: Mr. Fergus Duncan
Colm Feore: Willory the Furness Engine
Martin Freeman: William
Lucy Montgomery: Marigold the Quarry Crane (Merrick’s genderbent counterpart)
William Salyers: Dolgoch
Eddie Perino: James the Red Engine
Minty Lewis: Molly
Will Friedle: Bill
Jason Marsden: Ben
Clancy Brown: Boco
Jonathan Wilson: Patrick the Cement Mixer
Andrea Baker: Isabella the lorry
Jamie Watson: Bulstrode
Joe Pingue: Whiff the Garbage Engine
Jodi Benson: Old Slow Coach
Travis Willingham: Gordon the big engine
Troy Baker: Spencer the Private Engine
Rick Wasserman: Byron The Bulldozer
Josh Keaton: Jack the Front Loader
Lester Loren: Alfie the Excavator
John DiMaggio: Buster the Steamroller & Lord Callan
Mark Hamil: George the Steamroller
Pierce Brosnan: Murdoch
Thomas Middleditch: Stanley
Kevin Micheal Richardson: Max & Monty
Roz Ryan: Rosetta (Flora’s tram coach)
Kate Micucci: Flora the Great Waterton Steam Tram
Micheal Rosenbaum: Bernie the Bus (Formerly Bertie)
Sara Ballantine: Ali the bus (Formerly Algy)
Tom Kenny: Peter Sam
Jason Spisak: Sir Handel
Bob Joles: Bertram
Mike Judge: Hank
James Arnold Taylor: Dennis
Kari Walhgren: Emily the Sterling Engine
Kate Higgins: Pip & Emma
Susan Eisenberg: Kelly the Crane (genderbent)
Trevor Duvall: Smudger
Phil Lamar: Skarloey & Terence the Tractor
Dee Bradly Baker: Rheneas
Stephen Stanton: Fearless Freddie
Maurice LaMaurche: Mr. Hugh
Maria Canals-Barrera: Risty (genderbent/non-binary Rusty)
Frank Welker: The Duke of Boxford
Ted Atherton: Mighty
Danny Smith: Mac
Kath Souice: The Duchess of Boxford
Joe Swash: Stepney the bluebell engine
Steve Purcell: Cromford the bluebell engine
Michelle Aang: Bernice the GW Lemon drop engine
Mark Oliver: City of Truro
Alan Cumming: Lachlan
Neil Crone: Splatter
Kevin Frank: Dodge
Vanessa Marshall: Andrea the Narrow Gauge express engine
Colin McFarlane: Bert the diesel & Richard the new express engine
Greg Whalen: Duncan
Fred Tatasciore: Bear
Bill Hillfager: Ned the Steamshovel
Bob Golding: Eric
Grey Griffin: Bertha
Scott Thompson: Elizabeth
Tony Nappo: Cranky the Crane
Keith Scott: Diesel 10
Eric Roberts: Devious Diesel
Taliesin Jaffe: Arthur The LMS Engine
Christian Bale: Paxton
Jonny Harris: Oliver the Great Western Engine
Carlos Alazraqui: Douglas
Hank Azaria: Old Bailey
Tress MacNeille: Lily
Eddie Deezem: Fergus
David Tennant: Neville
Dominic Monaghan: Donald
David Menkin: Jeremy the Jet Plane
Nolan North: Porter
JB Blanc: Arry the diesel
David Foley: Mr. Percival
Siobhan Flynn: Miss Jenny Packard
Nicola Stapleton: Sydney the forgetful diesel (genderbent)
Danielle Judovits: Ivy (genderbent Ivo Hugh)
Cam Clarke: Orlando the Excavator
Emma Thompson: Gwen (genderbent Den)
Leigh-Allyn Baker: Colleen the Wharf Crane (genderbent Colin)
Jess Harnell: Nelson
Erica Lindbeck: Franny (genderbent Fred the diesel)
Greg Cipes: Ryan
Ashley Johnson: Rebecca
Laura Bailey: Annie & Clarabel
Aries Spears: Horrid Lorries
Gary Anthony Williams: Jem Cole
Rupert Degas: Trevor the traction engine
Rob Paulson: Reverend Charles Laxly- Vicar of Wellsworth
Henry Ian Cusick: Harold the Helicopter
Paul Dobson: Duke the lost engine
Tara Strong: Nancy (a conductor’s daughter)
Jules De Jongh: Maya Sarrengato (mayoress of Great Waterton)
Scott McNeil: Rocky the Crane
Joe Mills: Jock
Peter McNicol: Spamcan
Mick Wingert: Flynn the Firetruck
Olivia DeAbo: Olivia the Arlesdale tank engine
Robin Atkin Downes: Cyril the Arlesdale diesel & Boxhill (Stepney’s twin brother)
Rob Rackshaw: Frank the diesel
Sara Cravens: Audrey Balsinde (deputy mayoress of Great Waterton)
Jaime Pressly: Caroline the car
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signor-signor · 4 years
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Trending 27th - February 2020
At this time, I have one favorite Wander Over Yonder OC to talk about. He comes from a fan fiction written by weirdnwild91 - The Dominator Rises - and he’s possibly the first fan-made character I ever knew about during WOY’s S2 run. I’m, of course, referring to none other than the toughest guy on Malpotum, Syzar.
He only exists in text form, so I decided to draw him in a way that fits what I read. His build could have been Dominator’s inspiration for becoming much more powerful than Lord Hater.
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So, when I first read the fan fiction, which WnW91 made for a contest long ago, I was in for a treat - it explained (from a fan’s point of view) how Dominator became powerful, and the humor was very much the same as that found in WOY. I particularly found Syzar to be a very memorable character, what with his interesting lines. I like to imagine John DiMaggio reciting the lines in a brash, strong, manly voice.
When Dominator starts speaking and talks about getting right down to business: “You mean the business of which one of us you’ll be taking a liking to? Though I don’t think that’ll be much of a contest.”
After punching Daig away for trying to gain permission to be Dominator’s bodyguard: “If anyone’s gonna be her bodyguard, it’s gonna be me! GOT THAT?!”
As soon as Dominator convinces everyone in Sorxin’s Tavern to help her: “Hey, Dommi. You remember earlier when I said I was the only one fit to be your bodyguard? Well, I think it’s about time we make that official. Don’t you think, Dommi?” (Ever since I read this part, I almost always call her that.)
When Dominator talks about becoming the eventual ruler and further enrages Syzar, calling him a lowly worker for hire: “You think you’re so great? You think you’re so tough? Let’s see you get into a fight with a REAL man!” to which Dominator responds, “Okay — know where I can find one?”
As mentioned in the fan fiction, Dominator gets rid of Syzar and the other men as soon as she has her bots, so the fate of those guys remains unknown. To say Syzar was no match for Dominator would be an understatement. If I had to guess what became of him, he might be incognito somewhere in the universe, constantly wary of Dominator’s presence.
@disneyanimation
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oldshrewsburyian · 5 years
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Marilyn Munroe and Marlene both had a lot of affairs and were sexual people, but WHY was Marilyn slut shamed, seen as just a plaything by her men, even abused mistreated while Marlene just got more respect from her men lovers instead, they treated her adoringly and even invited her to parties and escorted her, and even after breakups they still friends with her and spoke the best of her? What happened? Btw they had several of the same famous lovers...
Wow, there’s... a lot going on there. I can neither fully answer your question nor fully agree with your assessment. Disclaimer: while I’ve read decent secondary literature on both of them, I don’t have access to relevant archives. While Marilyn Monroe and Marlene Dietrich are both icons of (white, western) 20th-century female sexuality, there are important contextual differences in how they attained iconic status, that go someway to explaining what I think you’re getting at.
I’d argue that to see Marilyn Monroe only as a victim of her own celebrity does her a disservice. It’s one of the popular narratives about her, of course; but it’s a sexism of its own kind, to see her as the suffering object and no more. Yes, Joe DiMaggio was awful to her; yes, she was objectified; yes, this clearly did take a psychological toll on her. Consider, for instance, Arthur Miller’s unpublished words, penned shortly after her funeral: 
“She was destroyed by many things and some of those things are you. And some of those things are destroying you. Destroying you now. Now as you stand there weeping and gawking, glad that it is not you going into the earth, glad that it is this lovely girl who you at last killed.”
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But she was also respected by friends and lovers, acknowledged as the intelligent woman she was. About the reduction of Marilyn to sex symbol: it was the 1950s, a time of considerable anxiety about gender roles. If a woman was going to be openly sexual, the ways for doing that were limited. And the US has a long history of prurience and Puritanism. Moreover, Monroe’s fame came at a time of (even) more abundant media attention than Dietrich’s first did. I’d argue that Warhol’s piece is both symbol of and commentary on that.
Now, Dietrich. Much as I adore her (and I do) I don’t quite share your sanguine assessment of her “just [getting] more respect.” She spoke quite openly, in later life, of feeling restricted by the necessity of dressing for the image of herself, and by the ways in which she was perceived as image and icon, unchanging. She managed her own image intensively, and this was a necessity. (Also, if being invited to parties is your bar for decent treatment by lovers, please, please get a higher bar.) But here’s another thing: Marlene Dietrich was always very openly queer. Her breakthrough role featured her singing about a romantic and sexual relationship between women. Her first film role cast her in a position of independence, competence, and sexual dominance, as well as allure. This was the reputation that she carried with her into Hollywood. I do love the fact that Douglas Fairbanks Jr. fondly reminisced about her vinegar douches. I love the fact that she intimidated a lot of people (even Ingrid Bergman, a little.) And many of her relationships were carried on in the ‘30s and ‘40s, in social circles and cultural environments more permissive than Monroe’s. Also, her level of not giving a damn extended to wearing trousers in Paris after being explicitly forbidden to do so. 
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