Showing posts with label Quotes. Show all posts
Showing posts with label Quotes. Show all posts

Friday, July 17, 2026

Remembering the great vaudevillian James Cagney, born 17 July 1899

A black-and-white publicity still from the 1931 Warner Bros. crime film The Public Enemy, featuring James Cagney and Jean Harlow. Cagney sits in the foreground wearing a tuxedo and bow tie, his expression stern and determined as he loosely grips a revolver resting across his lap. Behind him, Harlow stands elegantly in a satin evening gown with a flowing shoulder drape, holding a long cigarette holder while gazing coolly towards the camera. One hand rests lightly upon Cagney's shoulder, reinforcing their dramatic partnership. A small table with an ashtray, cigarettes, and an ice bucket completes the sophisticated Art Deco setting, emphasising Hollywood's glamorous yet dangerous vision of the Prohibition-era underworld.
Warner Brothers

“I still think of myself essentially as a vaudevillian, as a song and dance man. The vaudevillians I knew by and large were marvelous people. Ninety percent of them had no schooling, but they had a vivid something or other about them that absolutely riveted an audience's attention. Those vaudevillians knew something that ultimately I came to understand and believe - that audiences are the ones who determine material. They buy the tickets.” — the Hollywood god James Cagney, reflecting on his ‘schooling’ in the world of entertainment. (source: https://www.imdb.com/name/nm0000010/quotes/)

Seen here with the goddess Jean Harlow in a promotional shot for The Public Enemy (1931, WB).

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πŸͺπŸ’” #QueSeraSera π“…¨ πŸ•ˆ

Copyright 2026, Arthur Newhook.

Monday, June 29, 2026

Lana Turner on what makes an individual a ‘success’, and yours truly on what does not

photo: Eric Carpenter, c. 1943

“A successful man is one who makes more money than a wife can spend. A successful woman is one who can find such a man.” — the screen goddess Lana Turner, 8 February 1921 to 29 June 1995.

Though delivered with a measure of worldly cynicism, there is a kernel of truth in the observation. Men are most often judged by what they can provide, and the loudest self-appointed gurus of modern masculinity (the ‘manosphere’) seem to understand only half of that equation. They obsess over testosterone, dominance, berating women, and projecting their twisted ideas of strength, whilst paying comparatively little attention to cultivating their minds, developing useful skills, or improving their financial prospects in life. Earning power is more important than virility — muscles and all of that are icing on the cake; if the cake is rich enough then it does not need any icing.

Yours truly hath made a million mistakes through the years. In my younger days, I spent far too much time worrying about the wrong things. Not because I was trying to become some sort of he-man figure — though I have the voice of a much more imposing man, my pale and skinny arse was still never destined for that role; mind you, this was also long before the current moral panic over the loss of masculinity and the ugliness it hath inspired — but because I was forever trying to fit in with groups and individuals whose approval I believed I needed. Even in my late thirties when I was involved in the twelve-step cult, I was all too often a ‘people pleaser’. It was ingrained in me by numerous parties, during my formative years, that simply being myself was never going to suffice. None of those people are anywhere to be found today, when I am too exhausted and fed-up to be anything but myself.

Looking back, I can see how much time and energy I wasted pursuing acceptance from people who neither deserved it nor appreciated it. I cared too much about belonging and not nearly enough about building a life for myself. Had I chosen different priorities, surrounded myself with different people, and possessed a little more confidence in my own judgement, many things would have turned out differently. Perhaps I would be able to leave this dying country if I had, somehow, made more money in my prime years. Instead, I shall die here, with all the other fools.

On the other hand, even if I had become a rich man, I do not know that there are any Lana Turners to be had in this world now.

But I digress.

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πŸͺπŸ’” #QueSeraSera π“…¨ πŸ•ˆ

Copyright 2026, Arthur Newhook.

Sunday, June 21, 2026

Juliette Lewis: the unruly muse

Actress Juliette Lewis reclines across an ornate Victorian-style chaise longue upholstered in pale patterned fabric. Dressed in a flowing cream-coloured slip and black lace stockings, she stretches languidly along the length of the sofa, one leg raised over the curved backrest while the other extends towards the floor. Her dark hair spills over the edge of the furniture, and she gazes directly towards the camera with a confident, playful expression. The room is sparsely furnished, with neutral walls and soft indoor lighting that emphasises the contrast between the antique white upholstery and the dark carved wood frame of the chaise. The composition combines glamour photography with a relaxed, theatrical pose, creating an atmosphere of vintage Hollywood sensuality and understated elegance.
source unknown

“If someone tells you over and over that everything's great, you immediately think, 'OK, what's the rest of the story?'” — the free-spirited and independent-minded Juliette Lewis, born 21 June 1973. 

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πŸͺπŸ’” #QueSeraSera π“…¨ πŸ•ˆ

Copyright 2026, Arthur Newhook.

Friday, June 19, 2026

Kathleen Turner: the face of neo-noir

A publicity still from an early-1980s interior scene of Kathleen Turner standing beside a table lamp in a softly lit room with floral wallpaper. She weareth a delicate beige lace-trimmed camisole and matching short nightwear, with ribbon ties and embroidery. Holding a small glass, she gazeth slightly to one side with composed confidence. Her voluminous brown hair frameth her face in period style. Warm lighting, pastel dΓ©cor, and intimate domestic setting create elegance, sensuality, and understated glamour—the polished visual style of early-1980s romantic thrillers and Hollywood productions.

“I often play women who are not essentially good or likable, and I often go through a stage where I hate them. And then I find the reasons why they are that way, and end up loving and defending them.”
Kathleen Turner, born 19 June 1954. Seen in Body Heat (1981, WB).

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πŸͺπŸ’” #QueSeraSera π“…¨ πŸ•ˆ

Copyright 2026, Arthur Newhook.

Thursday, December 4, 2025

Frank Zappa, who departed this realm on 4 December 1993 and may be currently rolling over continually in his grave, on ‘Death by Nostalgia’

A softly stylised, retro-inflected illustration shows a young woman with pale silver hair standing in a record shop, her pose composed with languid self-possession. She leans against a wooden counter lined with crates of vinyl, their sleeves forming a muted collage of colours and half-familiar designs. Behind her, rows of albums ascend the wall like a mosaic of forgotten soundscapes.  She wears a pastel blazer over a graphic T-shirt bearing a sun-bleached, synthwave-style motif, tucked neatly into high-waisted jeans. Her expression is poised yet faintly aloof—blue eyes holding a distant, contemplative chill, as though she is momentarily suspended between eras, hearing music that belongs to none of the records around her. The composition evokes the dreamlike nostalgia of 1980s pop aesthetics filtered through contemporary illustration, merging cool detachment with an undercurrent of intimate longing.
image generated via Google Gemini

Four decades on, nostalgia is just about all we have left. 

"The really big news of the eighties is the stampede to regurgitate mildly camouflaged musical styles of previous decades, in ever-shrinking cycles of 'nostalgia.

"(It isn't necessary to imagine the world ending in fire or ice—there are two other possibilities: one is paperwork, and the other is nostalgia. When you compute the length of time between The Event and The Nostalgia For The Event, the span seems to be about a year less in each cycle. Eventually within the next quarter of a century, the nostalgia cycles will be so close together that people will not be able to take a step without being nostalgic for the one they just took. At that point, everything stops. Death by Nostalgia.)” 

—from the 1989 memoir, The Real Frank Zappa Book.

Copyright 2025, Arthur Newhook.

Sunday, November 30, 2025

Sir Winston Churchill on the reality of public opinion

A satirical digital portrait of Winston Churchill reimagined in the twenty-first century, his legendary bulldog scowl trained not upon the enemy but a glowing smartphone. The artist renders him with remarkable fidelity: the bowler hat, polka-dotted bow tie, and omnipresent cigar—all hallmarks of Churchillian defiance—are intact, yet their gravitas is comically undercut by the incongruity of modern technology. Behind him, the Union Jack looms in vivid hues of red, white, and blue, emblematic of the indomitable British spirit he once personified. The light catches the creases of his brow and the curl of smoke from his cigar, giving the scene both humour and gravitas. The composition suggests an allegory of the digital age—an icon of steadfast conviction confronted by the triviality and distraction of the contemporary world, frowning as though the fate of civilisation itself depended upon what he sees on the screen.

“There is no such thing as public opinion. There is only published opinion,” stated Winston Churchill—a remark that lands with eerie foresight in the age of dictatorial algorithms and mass hysteria, wherein opinion is made a merchandised trade, and the mob a marketplace. One may well conceive the old war-dog beholding the endless scroll of social babble, and judging—after his wonted fashion and without the least strain of hyperbole—that our civilisation had clean parted company with its wits.

Born on 30 November 1874 amidst the rolling fields of West Oxfordshire, and sprung of an American mother of notable grace and an English father of noble blood yet scant forbearance, Winston Leonard Spencer Churchill embodied a species of Englishman now almost extinct. A lover of cigars, whisky, and the English language in equal measure, he stood as the living antithesis of his nemesis, the teetotal vegetarian tyrant across the Channel. Churchill’s vices were human; his virtues, monumental.

By any reckoning, the twentieth century’s most formidable statesman—a relic of another age even whilst he lived, and yet utterly needful to his own time. In an era that prized shallow cries above substance, he wielded words as others wield artillery; and when civilisation hung by a thread, it was his voice—gravelled, resolute, and adamant—that held the rampart fast.

In today’s absurd universe, one with many echoes of the atmosphere that led to the Second World War, Churchill’s spectre is more needed than ever. Yet I discern much of his iron resolve in Volodymyr Zelensky: a witness that greatness, however blemished, once walked amongst mortal men, and that valour, when once uttered aloud, may yet ring forth with truth.

Copyright 2025, Arthur Newhook.

Saturday, November 29, 2025

A life forever diminished: C.S. Lewis on the ‘new normal’ in the aftermath of grief

A softly lit oil portrait of a woman seated upright against a pale background, her composure poised between resignation and endurance. Her hair, silver and fine, frames a face of quiet intelligence, rendered with exquisite naturalism. She wears a faded blue blouse, the fabric loosely draped and suggestive of long wear, and a cream blanket is drawn about her lower body. Her right leg terminates in a polished wooden prosthesis, its smooth amber tone contrasting the muted palette of her surroundings. The painter’s restrained brushwork evokes the moral seriousness of post-war realism, merging tenderness with stoic clarity. The composition’s stillness, its nearly monochrome harmony of ochres and blues, summons associations of solitude, recovery, and the muted dignity of survival.
image generated via ChatGPT

“Getting over it so soon? But the words are ambiguous. To say the patient is getting over it after an operation for appendicitis is one thing; after he’s had his leg off is quite another. After that operation either the wounded stump heals or the man dies. If it heals, the fierce, continuous pain will stop. Presently he’ll get back his strength and be able to stump about on his wooden leg. He has ‘got over it.’ But he will probably have recurrent pains in the stump all his life, and perhaps pretty bad ones; and he will always be a one-legged man. There will be hardly any moment when he forgets it. Bathing, dressing, sitting down and getting up again, even lying in bed, will all be different. His whole way of life will be changed. All sorts of pleasures and activities that he once took for granted will have to be simply written off. Duties too. At present I am learning to get about on crutches. Perhaps I shall presently be given a wooden leg. But I shall never be a biped again.”

C.S. Lewis, born 29 November 1898 in Belfast. Passage from A Grief Observed.

Copyright 2025, Arthur Newhook.

Tuesday, November 4, 2025

Will Rogers, born 4 November 1879, and apparently a prophet of sorts

A hand-tinted studio portrait of a middle-aged man with neatly combed brown hair, wearing a dark suit and white shirt with a tie, smiling directly at the viewer. His expression conveys genial confidence, with bright eyes and a mischievous warmth suggesting both wit and approachability. The subtle tinting of his lips and skin gives the photograph an early 20th-century charm, bridging the line between photographic realism and painterly artifice. Inscribed faintly in cursive at the bottom left are the words “Yours, Will Rogers,” identifying the sitter as the beloved American humourist and social commentator. The portrait embodies the genial populism and understated sophistication of its era—an image at once intimate, idealised, and emblematic of a figure who made comedy a form of moral conscience.
Wikimedia Commons

“The trouble with practical jokes is that very often they get elected.” One can but conjecture what the great Will Rogers—among the most incisive and quotable of all Americans—might utter were he confronted with Donald Trump and the maelstrom of incivility and wilful ignorance that now characterises the former United States. I strongly surmise that his judgment would be anything but kind. —Arthur Newhook, 4 November 2025.

Copyright 2025, Arthur Newhook.

Tuesday, October 14, 2025

Lost in a sea of ice, a fragile sparrow in a blizzard of sorrow. The ultimate portrait of the tragic silent heroine, Lillian Gish. Born 14 October 1893 – 27 February 1993.

Lillian Gish drifts ghostlike across a frozen river, her dark gown stark against the blinding expanse of snow and ice. The year is 1920, Way Down East, and cinema itself seems to shiver with her. Every fold of fabric, every tremor in her posture conveys both fragility and moral endurance—the essence of silent-era storytelling distilled into a single image. Her expression, wide-eyed with terror and transcendence, catches the thin light of winter, as though grace itself had taken human form and wandered, lost, into a storm. Around her, the frozen world becomes both stage and crucible: nature as adversary, faith as her only warmth.
United Artists

“I've never been in style, so I can't go out of style.”Lillian Gish. Seen here as the very embodiment of fragile defiance amid a frozen desolation, her anguish etched against eternity in the shattering finale of Way Down East (1920). The queen of silent sorrow, her face could summon tears where words dared not tread—a creature of such purity and pathos that she seemed less mortal than mythic, the cinema’s first true saint of suffering. —Arthur Newhook, 14 October 2025.

Copyright 2025, Arthur Newhook. FULL LIST OF LINKS - linktr.ee/arthurnewhook. DONATIONS GRATEFULLY ACCEPTED on Cash App ($ANewhook).

Monday, October 13, 2025

The enduring charm of Laraine Day, 13 October 1920 – 10 November 2007

Laraine Day stands in sunlight by the shore, the very picture of 1940s poise softened by seaside ease. Her floral swimsuit, modest yet flattering, gathers the brightness of the day around her like a halo. Bare feet press into sand still cool from morning tide, and the surfboard beside her becomes both prop and partner—symbol of youthful daring, the kind once immortalised by Hollywood’s golden lens. Her smile is unguarded yet perfectly framed, an expression of open joy caught midway between glamour and sincerity, as though the camera itself were a dear friend rather than an instrument of fame.
photo by Oliver Sigurdson, c. 1945

“Let someone else be the world's greatest actress. I'll be the world's greatest baseball fan.” —a pretty good actress, at least, Laraine Day, born 13 October 1920. Known to millions as the sweetheart of the screen, she won hearts as Nurse Mary Lamont in the beloved Dr Kildare films—her performance a study in luminous poise and wholesome sincerity. Yet to dismiss her as merely the ingΓ©nue next door would be to miss the steel within the silk: at only nineteen, she shone under the tutelage of director Alfred Hitchcock, and starring opposite the formidable Joel McCrea, in the excellent Foreign Correspondent (1940, United Artists), acquitting herself with grace and intelligence far beyond her years.

Off-screen, her story was scarcely less vivid. For more than a decade—from 1948 to 1960—she was celebrated as ‘the First Lady of Baseball’, as the wife of the fiery, mercurial manager Leo Durocher, whose temper and genius for the game were legendary. To that end, she hosted a pre-game broadcast for the New York Giants on WMGM 1050 AM (a modern-day ESPN radio affiliate with the call letters WEPN).

A divine and dependable leading lady in every sense, Laraine Day embodied the rare union of warmth and discipline, the professional polish of the studio era tempered by a very human charm. Whether clad in a nurse’s uniform or a designer gown, she embodied the confidence of a woman who knew precisely who she was, and how to remain so in an industry that seldom forgave identity. —Arthur Newhook, 13 October 2025.

Copyright 2025, Arthur Newhook. FULL LIST OF LINKS - linktr.ee/arthurnewhook. DONATIONS GRATEFULLY ACCEPTED on Cash App ($ANewhook).

Saturday, October 11, 2025

Bette Davis: satin, suggestion, and a single exposed truth

Bette Davis reclines against a striped sofa, poised between languor and challenge. The photograph, from around 1938, captures her in sculptural chiaroscuro—hair a cascade of marcelled curls, eyes half-lidded but alert, lips precise as punctuation. She wears a fitted white knit bodice with delicate straps and twisted cord detail, its simplicity countered by the bold opulence of her jewellery: a pendant of dark stones ringed in light, twin cuffs studded to match, a ring glinting like a withheld remark. The composition balances warmth and hauteur—one arm draped over the cushion, the other resting lightly near her lap—suggesting both repose and readiness. The lighting isolates her against a field of shadow, drawing the gaze to her shoulders and throat, where elegance becomes eroticism. She embodies her own credo: that the merest glimpse of satin or skin carries more charge than overt display.

“I often think that a slightly exposed shoulder emerging from a long satin nightgown packs more sex than two naked bodies in bed.”Bette Davis, rather proving the point in this image, circa 1938 via the Everett Collection.

Copyright 2025, Arthur Newhook. FULL LIST OF LINKS - linktr.ee/arthurnewhook. DONATIONS GRATEFULLY ACCEPTED on Cash App ($ANewhook).

A woman who could outshine artifice with a single, unguarded smile: Diane Keaton, photographed by Norman Seeff, c. 1975

A monochrome portrait of actress Diane Keaton, radiating unaffected poise and understated confidence. She poses with her arms raised, hands resting lightly behind her head, allowing her straight, shoulder-length hair to fall freely about her face. The composition is spare and unadorned, yet profoundly intimate—capturing the spontaneous warmth of a woman who has never needed artifice to command attention. Her faint, knowing smile and calm gaze convey a blend of wit and serenity, while the soft interplay of light and shadow accentuates the natural contours of her face and arms. Clad in a simple black tank top, Keaton embodies a timeless minimalism—her beauty emerging not from glamour but from authenticity, the camera recording a moment of quiet self-assurance and self-possession that would later define her screen persona.

“I build a wall around myself. I'm hard to get to know. Any trait you have, it gets worse as you go along.”Diane Keaton, 1946–2025. She made honesty fashionable. We could use more of that in the world as it is now. She made honesty fashionable—and how rare that seems now. In a world stitched together with pretence, we could use a little more of her kind of truth. —Arthur Newhook, 11 October 2025.

Copyright 2025, Arthur Newhook. FULL LIST OF LINKS - linktr.ee/arthurnewhook. DONATIONS GRATEFULLY ACCEPTED on Cash App ($ANewhook).

Friday, October 3, 2025

Clad in nothing but charm: Janet Leigh in a towel scene far more blissful than the one for which she is most infamously remembered

“In order to dream, you need to have a springboard which is the facts... It gives it that touch of reality, and I think that's quite important... truth with fiction.”Janet Leigh (6 July 1927 – 3 October 2004), glimpsed here in Jet Pilot (1957, RKO)—not as a femme fatale, but disarmingly radiant. She embodied that ineffable ‘girl-next-door’ allure—wholesome, all-American charm enlivened by intelligence and irrepressible spirit shining through her eyes. A true doll.

{alternate text for the image above} A monochromatic cinematic still captures the celebrated actress Janet Leigh in a moment of unguarded, coquettish allure. Depicted post-ablutions and clad simply in a terrycloth towel, she casts a puckish glance over her shoulder, her visage a captivating admixture of ingenuous charm and sophisticated seduction. The spartan, bucolic interior, dominated by a formidable cast-iron furnace, provides a striking counterpoint to her intrinsic glamour. The composition thus creates a delightful frisson, juxtaposing rustic simplicity with the ineffable, radiant magnetism of a Hollywood luminary.

Copyright 2025, Arthur Newhook. On X-TWITTER: @Sunking278 and @DollsFallen. REDDIT - https://www.reddit.com/user/SiberianKhatru278/. BLUESKY - @arthurnewhook.bsky.social. FULL LIST OF LINKS - linktr.ee/arthurnewhook. DONATIONS GRATEFULLY ACCEPTED on Cash App ($ANewhook), PayPal (paypal.me/Sunking278), and at https://tinyurl.com/ArthurNewhook.

Wednesday, October 1, 2025

Proffering felicitations to President Jimmy Carter—now resident in the celestial sphere—who, had he tarried upon this thankless planet another ten months, would this day have marked his 101st year

Consolidated News Photos

“I've looked on many women with lust. I've committed adultery in my heart many times. God knows I will do this and forgives me.” —May I too be spared the harshest judgement for the lusts that dwell within my own heart, though I know I am not the man Jimmy Carter was and am decidedly not in God’s favour. No matter: in solemn remembrance of former President of the United States—who departed this life not long ago (29 December 2024), and who today would have marked his 101st birthday (born 1 October 1924 in Plains, Georgia).

{alternate text} In this warmly lit photograph, former US President Jimmy Carter is captured in a moment of unguarded delight, his face illuminated by a broad, genuine smile. His greying hair, neatly brushed back, frames features that radiate both humility and quiet resolve. Dressed in a grey checked suit, a pale blue striped shirt, and a red tie patterned with subtle paisleys, he exudes a modest formality befitting the era. The blurred backdrop, punctuated by the colours of the American flag, situates him unmistakably in the milieu of public service, likely during his presidency (1977–1981). The image conveys Carter’s characteristic warmth and approachability, qualities that underpinned his political persona as a leader of principle, guided more by moral conviction than pomp. It is less the portrait of a statesman cloaked in grandeur than of a man rooted in earnestness, embodying the ideals of decency and integrity he strove to bring to American public life.

Copyright 2025, Arthur Newhook. On X-TWITTER: @Sunking278 and @DollsFallen. REDDIT - https://www.reddit.com/user/SiberianKhatru278/. BLUESKY - @arthurnewhook.bsky.social. FULL LIST OF LINKS - linktr.ee/arthurnewhook. DONATIONS GRATEFULLY ACCEPTED on Cash App ($ANewhook), PayPal (paypal.me/Sunking278), and at https://tinyurl.com/ArthurNewhook.

Monday, September 29, 2025

The radiant Greer Garson, marked in remembrance with a heavenly birthday

Getty Images

Time to get this blog back up and running in earnest, as relying solely on social media for anything is foolhardy and dangerous. Especially bloody Facebook. Screw that company to all Hell. 

“When you can't wait for your ship to come in, you've got to row out to it.” —the esteemed Greer Garson, with her eyes but lanterns — burning through shadow, and revealing both question and answer. She was born in Manor Park, now a borough of London, 29 September 1904.

Copyright 2025, Arthur Newhook. On X-TWITTER: @DollsFallen and @Sunking278. BLUESKY - @arthurnewhook.bsky.social. REDDIT - https://www.reddit.com/user/SiberianKhatru278/. FULL LIST OF LINKS - linktr.ee/arthurnewhook. DONATIONS GRATEFULLY ACCEPTED on Cash App ($ANewhook) and at https://tinyurl.com/ArthurNewhook.

Thursday, August 21, 2025

Remembering Jack Buck, born 24 August 1924.

photo: Jack Buck speaking at Busch Stadium, 17 September 2001

“You can't get a job without experience and you can't get experience until you have a job. Once you solve that problem you are home free.” —thus spoke the golden voice of Jack Buck, born 21 August 1924. It is likely he did not apprehend how precisely he drew back the curtain upon the authentic and paradoxical nature of a duplicitous nation and its evil people. Decades before Trump’s rise to power in the now-former United States, long before the carefully maintained faΓ§ade began to crumble and the malice, together with the wilful ignorance, became so nakedly conspicuous, Buck had already distilled the dilemma into a single, resonant observation. No matter, scarcely a soul could rival him in the craft of baseball play-by-play. The world could use a voice of his timbre and integrity once more. —Arthur Newhook, 21 August 2025.

Copyright 2025, Arthur Newhook. @Sunking278 on X-TWITTER, and @FloydEtcetera on FACEBOOK. BLUESKY - @arthurnewhook.bsky.social. REDDIT - https://www.reddit.com/r/EchoOfADistantTime/new/. DONATIONS GRATEFULLY ACCEPTED at https://tinyurl.com/ArthurNewhook.

The enduring grace of Diane Keen

photo: source unknown; colourised via ChatGPT Renowned English actress Diane Keen , celebrating her 79th birthday today (born 29 July 1947 i...