Saturday, November 25, 2023

Eli Whitney--Key Inventor of the Industrial Revolution--Cotton Gin & Interchangeable Parts

 


Eli Whitney Jr. (December 8, 1765 – January 8, 1825) was an American inventor, widely known for inventing the cotton gin in 1793, one of the key inventions of the Industrial Revolution that shaped the economy of the Antebellum South.

Whitney's invention made upland short cotton into a profitable crop, which strengthened the economic foundation of slavery in the United States and prolonged the institution. Despite the social and economic impact of his invention, Whitney lost much of his profits in legal battles over patent infringement for the cotton gin. Thereafter, he turned his attention to securing contracts with the government in the manufacture of muskets for the newly formed United States Army. He continued making arms and inventing until his death in 1825.

Whitney was born in Westborough, Massachusetts, on December 8, 1765, the eldest child of Eli Whitney Sr., a prosperous farmer, and his wife Elizabeth Fay, also of Westborough.

The younger Eli was famous during his lifetime and after his death by the name "Eli Whitney", though he was technically Eli Whitney Jr. His son, born in 1820, also named Eli, was known during his lifetime and afterward by the name "Eli Whitney Jr."

Whitney's mother, Elizabeth Fay, died in 1777, when he was 11. At age 14 he operated a profitable nail manufacturing operation in his father's workshop during the Revolutionary War.

Because his stepmother opposed his wish to attend college, Whitney worked as a farm laborer and school teacher to save money. He prepared for Yale at Leicester Academy (now Becker College) and under the tutelage of Rev. Elizur Goodrich of Durham, Connecticut, he entered in the fall of 1789 and graduated Phi Beta Kappa in 1792. Whitney expected to study law but, finding himself short of funds, accepted an offer to go to South Carolina as a private tutor.

Instead of reaching his destination, he was convinced to visit Georgia. In the closing years of the 18th century, Georgia was a magnet for New Englanders seeking their fortunes (its Revolutionary-era governor had been Lyman Hall, a migrant from Connecticut). When he initially sailed for South Carolina, among his shipmates were the widow (Catherine Littlefield Greene) and family of the Revolutionary hero Gen. Nathanael Greene of Rhode Island. Mrs. Greene invited Whitney to visit her Georgia plantation, Mulberry Grove. Her plantation manager and husband-to-be was Phineas Miller, another Connecticut migrant and Yale graduate (class of 1785), who would become Whitney's business partner. 

Whitney is most famous for two innovations which came to have significant impacts on the United States in the mid-19th century: the cotton gin (1793) and his advocacy of interchangeable parts. In the South, the cotton gin revolutionized the way cotton was harvested and reinvigorated slavery. Conversely, in the North the adoption of interchangeable parts revolutionized the manufacturing industry, contributing greatly to the U.S. victory in the Civil War.

Despite his humble origins, Whitney was keenly aware of the value of social and political connections. In building his arms business, he took full advantage of the access that his status as a Yale alumnus gave him to other well-placed graduates, such as Oliver Wolcott Jr., Secretary of the Treasury (class of 1778), and James Hillhouse, a New Haven developer and political leader.

His 1817 marriage to Henrietta Edwards, granddaughter of the famed evangelist Jonathan Edwards, daughter of Pierpont Edwards, head of the Democratic Party in Connecticut, and first cousin of Yale's president, Timothy Dwight, the state's leading Federalist, further tied him to Connecticut's ruling elite. In a business dependent on government contracts, such connections were essential to success.

Whitney died of prostate cancer on January 8, 1825, in New Haven, Connecticut, just a month after his 59th birthday. Wikipedia



 

 

 

 

Sunday, November 12, 2023

Liltin' Martha Tilton

 


Martha Tilton (November 14, 1915 – December 8, 2006) was an American popular singer during America's swing era and traditional pop period. She is best known for her 1939 recording of "And the Angels Sing" with Benny Goodman.

Tilton was born in Corpus Christi, Texas, United States. Her family moved to Edna, Kansas, when she was three months old. They relocated to Los Angeles when she was seven years old. While attending Fairfax High School in Los Angeles, she was singing on a small radio station when she was heard by an agent who signed her and began booking her with larger stations.

She then dropped out of school in the eleventh grade to join Hal Grayson's band. After singing with the quartet Three Hits and a Miss, she joined the Myer Alexander Chorus on Benny Goodman's radio show, Camel Caravan. Goodman hired Tilton as a vocalist with his band in August 1937. She was with Goodman in January 1938, when the band performed at Carnegie Hall. She continued to appear as Goodman's star vocalist until the end of 1939. She had a No. 1 hit with Benny Goodman's recording of "And the Angels Sing" in 1939.

Tilton had a major success from 1942 to 1949 as one of the first artists to record for Capitol Records. Her first recording for Capitol was "Moon Dreams", Capitol 138, with Orchestra and The Mellowaires, composed by Johnny Mercer and Glenn Miller pianist Chummy MacGregor in 1942. "Moon Dreams" would be recorded by Glenn Miller in 1944 and by Miles Davis in 1950.

Among her biggest hits as a solo artist were "I'll Walk Alone", a wartime ballad which rose to No. 4 on the charts in 1944; "I Should Care" and "A Stranger in Town," which both peaked at No. 10 in 1945; and three in 1947: "How Are Things in Glocca Morra" from Finian's Rainbow, which climbed to No. 8; "That's My Desire", which hit No. 10; and "I Wonder, I Wonder, I Wonder", which reached No. 9. After she left Capitol, Tilton recorded for other labels, including Coral and Tops. Among her later albums was We Sing the Old Songs (1957, Tops), a mix of older songs and recent standards, recorded with baritone Curt Massey.

Reviewing the two-CD set, The Liltin' Miss Tilton, (Capitol, 2000), critic Don Heckman wrote:

There are those who would say that Martha Tilton wasn't a jazz singer at all. But swing-era fans won't have any doubts, remembering her for a rocking version of "Loch Lomond" at Benny Goodman's 1938 Carnegie Hall concert.

In 1941, Tilton sang on Fibber McGee and Molly and starred on Campana Serenade, a program of popular music on first NBC and then CBS in 1942–1944.[8] (Tilton sang on the later CBS version, with the Lud Gluskin Orchestra.) A contemporary newspaper article called Tilton's role on Fibber McGee and Molly "a milestone in her personal history ... Martha's biggest transcontinental [broadcast] since her days as soloist with Benny Goodman."

In the early 1940s, she also sang on Ransom Sherman's program on CBS. Massey and Tilton starred in Alka-Seltzer Time, a 15-minute radio series broadcast weekdays on both CBS and Mutual. Sponsored by Alka-Seltzer, this show began in 1949 as Curt Massey Time (sometimes advertised as Curt Massey Time with Martha Tilton) with a title change to highlight the sponsor's product by 1952. Prior to that, Tilton had co-starred on The Jack Smith Show, another 15-minute radio musical program.

By 1953, the series was heard simultaneously on Mutual (at noon) and later that same day on CBS (at 5:45pm). Ads described the show as "informal song sessions" by vocalists Massey and Tilton, who was often billed as "The liltin' Martha Tilton". The two Texan singers performed with Country Washburne and His Orchestra, featuring Charles LaVere on piano. The series ended November 6, 1953. However, Massey and Tilton continued to appear together during the late 1950s on such shows as Guest Star and Stars for Defense

Her movies include Sunny (1941), Strictly in the Groove (1942), Swing Hostess (1944), Crime, Inc. (1945), and The Benny Goodman Story (1956).  Her last film appearance was as the band vocalist in the TV movie Queen of the Stardust Ballroom (1975). Tilton's singing voice was used for other actresses including Barbara Stanwyck, Martha O'Driscoll, and Anne Gwynne.

She appeared in several Soundies musical films of the 1940s. 

Tilton once again worked with Massey in the late 1950s and early 1960s—this time on KRCA-TV in Los Angeles. They were reunited on that station's Curt Massey Show. In 1960, Tilton won a Southland Emmy Award as outstanding female personality for her work on KRCA. In 1961, Tilton repeated as outstanding female personality, and the program won the Most Outstanding Musical or Variety Show award. Tilton also appeared as a guest star on The Jack Benny Program, on February 26, 1963 (Season 13, Episode 21) where they reminisce about their work entertaining soldiers for the USO

On December 8, 2006, Tilton died of natural causes at her Brentwood home  Wikipedia



 

 

 

Friday, November 3, 2023

Mary Margaret McBride--first woman to bring newspaper technique to radio interviewing

 

Mary Margaret McBride (November 16, 1899 – April 7, 1976) was an American radio interview host and writer. Her popular radio shows spanned more than 40 years. In the 1940s, the daily audience for her housewife-oriented program numbered from six to eight million listeners. She was called "the First Lady of Radio". 

McBride was born on November 16, 1899, in Paris, Missouri, to a farming family. Their frequent relocations disorganized her early schooling, but at the age of six, she became a student at a preparatory school called William Woods College, and at 16 the University of Missouri, receiving a degree in journalism there in 1919. She was a member of Kappa Alpha Theta at the University of Missouri.

She worked a year as a reporter at the Cleveland Press, and then until 1924 at the New York Evening Mail. Following this, she wrote freelance for periodicals including The Saturday Evening Post, Cosmopolitan, and Good Housekeeping, and starting in 1926, collaborated in writing travel-oriented books. 

McBride first worked steadily in radio for WOR in New York City, starting in 1934. This daily women's-advice show, with her persona as "Martha Deane", a kind and witty grandmother figure with a Missouri drawl, aired daily until 1940.

Originally, McBride's character "Martha Deane" was to be a grandmother with six children and many grandchildren-all imaginary. They were all named and described; she was to memorize the details. Her job was to talk colloquially and dispense philosophy. She kept getting all her "grandchildren's" names mixed up and within three weeks, she jettisoned the whole tribe on air. She remained Martha Deane, but was no longer a grandmother.

Concurrently with working as "Deane", in 1934 and 1935, she was the women's page editor for the Newspaper Enterprise Association syndicate. 

In 1937, she launched on the CBS radio network the first of a series of similar and successful shows, now as Mary Margaret McBride. She had to abandon the Deane persona because WOR owned the name and had replaced her in 1940 with Bessie Beatty.

She interviewed figures well known in the world of arts and entertainment and politics, with a style recognized as original to herself. She accepted advertising only for products she was prepared to endorse from her own experience, and turned down all tobacco or alcohol products.

She followed this format in regular broadcasts on:

  • CBS until 1941
  • NBC (where her audience numbered in the millions) from then until 1950
  • ABC from then until 1954
  • NBC again until 1960, and
  • The New York Herald Tribune's radio broadcasts with a wider audience via syndication.

Her NBC show in the 1940s had broad range of guests, from politicians to generals to movie stars; she never announced her guests in advance, so the audience tuned in with no idea who they would get. Beginning during World War II, she began "breaking the color line", mixing in African American guests. McBride was a popular media figure; the tea rose, 'Mary Margaret McBride' was named for her.

In September 1948, NBC brought McBride to television for a 30-minute primetime show on Tuesdays at 9 pm EST, but abandoned the show in its partial third month, with Variety describing the attempt sarcastically, and The New York Times calling her the first major "fatality" of this kind.

Below is a review of one of her first television performances, reviewed by The New York Times:

Perhaps the ladies in the daytime can survive Miss McBride's effusive and interminable commercials, but for the men at home in the evening they are hard to take after a day at the office. To watch Miss McBride shift-without pause or loss of breath-from a eulogy of Kemtone paint to an analysis of Russia is an ordeal not quickly forgotten. If nighttime television is to be daytime radio, away video, away!

From 1953 to 1956, she also conducted a syndicated newspaper column for the Associated Press.

About 20 years apart, she wrote two books for girls, each with "Elizabeth" in the title.

As time went on, she appeared in smaller radio media markets, in upstate New York, and toward the end of her life hosted Your Hudson Valley Neighbor three times a week on WGHQ Kingston, New York, from the living room of her home. Her longtime companion and business partner, Stella Karn, died in 1957.

She died at the age of 76 on April 7, 1976, at her home in West Shokan, New York. McBride's ashes were placed in her former rose garden. She has a star on the Hollywood Walk of Fame for her work in radio.

An account of her career, It's One O'clock and Here is Mary Margaret McBride: A Radio Biography by Susan Ware was published in early 2005. She is also discussed in depth in Radio Voices by Michele Hilmes.

The character of Mary McGoon, featured in the comedy routines of Bob and Ray, is a parody of Mary Margaret McBride.

The TV host Molly Margaret McSnide in Fantastic Four issue 16 is an obvious reference to her.

Her name was spoofed on the classic CBS-TV sitcom I Love Lucy in episode 79, "The Million Dollar Idea", which aired on January 11, 1954. In that installment, Lucy (Lucille Ball) comes up with an ambitious idea to make money. She decides to appear on television selling her Aunt Martha's salad dressing. Assisting her on the program is her best friend Ethel Mertz (Vivian Vance) as Mary Margaret McMertz.

McBride's celebrity was hardly a secret confined to daytime radio listeners, either; her 15th-anniversary celebration in 1949 was held in Yankee Stadium, the only facility large enough to hold the 75,000 people who filled every seat and formed huge crowds outside. Her magazine show was on the air continuously for 25 years.

McBride pioneered a style of ad-libbing her radio shows, meaning that the content in her show was not rehearsed prior to going on the air. She was acknowledged by Current Biography as "the first woman to bring newspaper technique to radio interviewing and to make daytime broadcasts profitable." The method of sustaining her show was also distinct. McBride and manager Stella Karn would produce their show and then market it directly to sponsors in the New York area or broader national arena. This format allowed McBride and Karn to have complete agency over the content and format of the show. The two were consistently able to maintain a level of support from sponsors, meaning that they were able to produce content that was exactly how they envisioned it, free of outside changes. This model was also one of McBride's notable contributions to broadcasting, as it paved the way for independent producing.

Mary Margaret McBride and Stella Karn met in the early 1920s in an instance of complete happenstance. As McBride describes it, “One day a bouncy woman, with eager brown eyes and auburn hair rolled into a bun, burst into our office and announced that she would be handling publicity for us.” McBride and Karn worked together for years, with Karn managing McBride and her show. McBride described the two of them in a Reader's Digest edition in 1962 as, "No two people were more unlike. My reaction to a crisis was to dissolve into tears; Stella's was to charge into battle." The two moved in together in a small apartment in the Chelsea neighborhood of New York City. McBride and Karn relied on each other for the entirety of their professional and personal lives.

McBride describes their first endeavor as a complete gamble motivated solely by Karn's optimism. During the Great Depression, the opportunity came for McBride to audition for a radio show, one of the only sources of entertainment at the time. When McBride got the job, she immediately recommended Karn as the person to handle the business side of the show's affairs. Karn and McBride became business partners, and Karn's first act on the job was to give her partner a raise.

McBride and Karn made a name for themselves as pioneers in the field of broadcasting, and also as trailblazers for the future of lesbian and bisexual journalists. McBride and Karn established their show as a connection point for lesbian and bisexual female creatives, forging friendships with influential names in broadcasting such as Ann Batchelder and Lisa Sergio.  Wikipedia



 

 

 

 

 

Wednesday, November 1, 2023

Jack Elam--Cowboy Movie Bad Guy & Comedy Relief

 


William Scott "Jack" Elam (November 13, 1920 – October 20, 2003) was an American film and television actor best known for his numerous roles as villains in Western films and, later in his career, comedies (sometimes spoofing his villainous image). His most distinguishing physical quality was his misaligned eye. Before his career in acting, he took several jobs in finance and served two years in the U.S. Navy during World War II.

Elam performed in 73 movies and in at least 41 television series. 

Born in 1920 in Miami, Arizona—a small mining town located 85 miles east of Phoenix—Jack was one of two children of Alice Amelia (née Kerby) and Millard Elam. Jack's father supported the family by working assorted jobs over the years, including stints as a carpenter, "millman", and accountant. The Elams by 1924 had moved from Miami to the nearby community of Globe, Arizona, where in September that year Alice died at the age of 30, succumbing to what state medical records cite as a three-year struggle with "general paralysis". After their mother's death, young Jack and his older sister Mildred went to live with various family members until Millard married again in April 1928, then to Kansas native Flossie Varney. Federal census records show that two years later the children, their father, stepmother, and Flossie's own mother were residing together in Globe, where Millard had a new job as an investigator for a loan company. Flossie was employed as well at the time as a public school teacher, while Jack also contributed to the family's income by periodically working on nearby farms gleaning cotton.

In 1931 Elam suffered a severe injury to his left eye during an altercation with another boy, an injury that ultimately blinded him in that eye and permanently damaged the muscles surrounding it] As Jack grew older, the impaired muscles caused his eye increasingly to "drift" within its socket and not track in unison with his right eye, often giving him a cockeyed appearance. Percy Shain, a veteran film and television critic for The Boston Globe, interviewed Elam in 1974 and quoted the actor's comments about the injury:

"I lost my eye when I was 11 in a fight at—would you believe it?—a boy scout  meeting...It was a big initiation night but I got into a scrap with this other kid and he put a pencil through my eye.

"There was no doctor there and it wasn't looked at until sometime afterward. They finally took out the lens and made it sightless. It was 20 years, though, before it started drifting. If it became an issue I could have it operated on, but at this stage of life I probably won't.
"There was a time, though, when I was making Rawhide, the movie [1951], that I mentioned to Darryl Zanuck [head of 20th Century-Fox] that I could have it fixed. He said, 'Don't do it. It's part of your mystique.' So I never got back to it and it's become my trademark, in a way.

"At this stage, it only causes me minor inconvenience. Sometimes I'm a little off center, or when I'm talking to someone I do it at a slight angle."

Zanuck's remarks about Elam's eye proved to be wise career advice, for despite any lifelong disadvantages that his "lazy eye" created for him personally, it proved to be an asset professionally, at least as a performer. His eye's distinctive appearance, combined with Elam's natural acting abilities, drew the attention of many casting directors of films and television series throughout the 1950s and 1960s.

Before becoming an actor, Elam completed his high-school education, got married, attended college, worked in a variety of jobs, and, despite being blind in one eye, served two years in the U.S. Navy during World War II. He completed his secondary education in Arizona, graduating from Phoenix Union High School in the late 1930s and then moving to California, where he majored in "business studies" at Modesto and Santa Monica junior colleges. During that time, he was also employed in several positions before entering military service, including work as a salesman for a "house trailer agency", as an accountant for the Standard Oil Company, a bookkeeper at the Bank of America, and a manager at the Hotel Bel-Air in Los Angeles. For a few years after his discharge from the navy, Elam continued to apply his business training as an accountant for Hopalong Cassidy Productions and as an independent auditor for Samuel Goldwyn and other moguls and companies associated with the film industry. That work required Jack to spend long hours each day reading and examining in detail large quantities of financial records, a routine that put too much strain on his right eye, his "good eye". "'I only see out of one eye'", he explained in an interview published in The Baltimore Sun in 1974, "'and that eye kept going shut.'" While Elam was widely recognized in Hollywood as "a leading independent auditor in motion pictures", by 1947 he found it necessary to quit that successful occupation entirely. He added, "'I had [my right eye] operated on several times and finally the doctor said he couldn't open it any more. He told me I had to get out of the business immediately or go blind.

Before becoming an actor, Elam completed his high-school education, got married, attended college, worked in a variety of jobs, and, despite being blind in one eye, served two years in the U.S. Navy during World War II. He completed his secondary education in Arizona, graduating from Phoenix Union High School in the late 1930s and then moving to California, where he majored in "business studies" at Modesto and Santa Monica junior colleges. During that time, he was also employed in several positions before entering military service, including work as a salesman for a "house trailer agency", as an accountant for the Standard Oil Company, a bookkeeper at the Bank of America, and a manager at the Hotel Bel-Air in Los Angeles. For a few years after his discharge from the navy, Elam continued to apply his business training as an accountant for Hopalong Cassidy Productions and as an independent auditor for Samuel Goldwyn and other moguls and companies associated with the film industry. That work required Jack to spend long hours each day reading and examining in detail large quantities of financial records, a routine that put too much strain on his right eye, his "good eye". "'I only see out of one eye'", he explained in an interview published in The Baltimore Sun in 1974, "'and that eye kept going shut.'" While Elam was widely recognized in Hollywood as "a leading independent auditor in motion pictures", by 1947 he found it necessary to quit that successful occupation entirely. He added, "'I had [my right eye] operated on several times and finally the doctor said he couldn't open it any more. He told me I had to get out of the business immediately or go blind.'"

Elam made his screen debut in 1949 in She Shoulda Said No!, an exploitation film in which a chorus girl's habitual marijuana smoking ruins her career and then drives her brother to suicide. Over the next decade as an actor, Elam continued to perform most often in gangster films and Westerns, firmly establishing himself in those genres as a reliable and memorable villain or "heavy". In fact, by the end of the 1950s various American news outlets and moviegoers were referring to him as "'the screen's most loathsome character'".

On television in the 1950s and 1960s, he made multiple guest-star appearances on many popular Western series, including The Lone Ranger, Gunsmoke, The Rifleman, Lawman, Bonanza, Cheyenne, Have Gun – Will Travel, Zorro, The Rebel, F Troop, Tales of Wells Fargo, The Texan, and Rawhide. In 1961, he played a slightly crazed bus passenger on The Twilight Zone episode "Will the Real Martian Please Stand Up?". That same year, he also portrayed the Mexican historical figure Juan Cortina in "The General Without a Cause", an episode of the anthology series Death Valley Days. In 1962, Elam appeared as Paul Henry on Lawman in the episode titled "Clootey Hutter".

Elam in 1963 received a rare opportunity to portray the good guy, appearing as a reformed gunfighter, Deputy U.S. Marshal J. D. Smith, in the ABC/Warner Bros. series The Dakotas, a Western intended as the successor of Cheyenne. The Dakotas ran for 19 episodes. He was then cast as George Taggart, "a former gunfighter who has become a U.S. marshal", in the 1963–1964 NBC/WB series Temple Houston.

In 1966 Jack Elam was cast in his first comedic role by Paramount Pictures, playing Hank in the Western film The Night of the Grizzly starring Clint Walker. The next year, for the Harold Hecht production The Way West, he was chosen for another light-hearted role, playing Preacher Weatherby and providing support to costars Robert Mitchum, Richard Widmark, and Kirk Douglas in a story about a wagon train traveling the Oregon Trail. Then, in 1968, Elam performed in the opening scenes of Sergio Leone's celebrated "spaghetti Western" Once Upon a Time in the West. In that film he portrays one of a trio of gunslingers sent to a train station to kill Charles Bronson's character. Elam in one sequence spends a good portion of his screen time simply trying to rid himself of an annoying fly, finally capturing the elusive insect inside the barrel of his pistol.

In 1969, he played another comedic role in Support Your Local Sheriff!, which was followed two years later by Support Your Local Gunfighter, both opposite James Garner. After his performances in those two films, Elam found his villainous parts dwindling and his comic roles increasing. (Both films were also directed by Burt Kennedy, who had seen Elam's potential as a comedian and directed him a total of 15 times in features and television.) Between those two films, he also played a comically cranky old coot opposite John Wayne in Howard Hawks's Rio Lobo (1970). In 1974–1975, he was cast as Zack Wheeler in The Texas Wheelers, a short-lived comedy series in which he portrayed a long-lost father returning home to raise his four children after their mother dies. Also on television, in 1979, he performed as Frankenstein's monster on the CBS sitcom Struck by Lightning, but the show was cancelled after only three episodes (the remaining eight were unaired (and remain so) in the U.S., though all 11 were aired in the UK in 1980). He then appeared in the role of Hick Peterson in a first-season episode of Home Improvement alongside Ernest Borgnine (season one, episode 20, "Birds of a Feather Flock to Tim").

Elam portrayed Doctor Nikolas Van Helsing, a "crazed proctologist", in the 1981 action-comedy film The Cannonball Run; and three years later, he reprised the role for the production's sequel, Cannonball Run II. Elam then played the character Charlie Hankins, a town drunk, in the 1986 "Weird Western" picture The Aurora Encounter. During production, Elam developed what would become a lifelong relationship with an 11-year-old boy in Texas named Mickey Hays, who suffered from progeria. The 1987 documentary I Am Not a Freak portrays the close friendship between Elam and Hays. Elam, in what may be an apocryphal quote, said, "You know I've met a lot of people, but I've never met anybody that got next to me like Mickey."

In 1986, Elam also co-starred on the short-lived comedy series Easy Street as Alvin "Bully" Stevenson, the down-on-his-luck uncle of Loni Anderson's character, L. K. McGuire. In 1988, Elam co-starred with Willie Nelson in the made-for-television movie Where The Hell's That Gold?

In 1994, Elam was inducted into the Hall of Great Western Performers of the National Cowboy and Western Heritage Museum in Oklahoma City, OK.

Elam was married twice, first to Jean Louise Hodgert from 1937 until her death from colon cancer on January 24, 1961. Seven months later, in August 1961, Elam married again, then to Margaret M. Jennison. The couple remained together for 42 years, until 2003, when Jack died of congestive heart failure at their home in Ashland, Oregon.  Wikipedia


 

 

 

Mona Freeman--Actress & Painter

 

 

Monica Elizabeth "Mona" Freeman (June 9, 1926 – May 23, 2014) was an American actress and painter.

Freeman was born in Baltimore, Maryland, and grew up in Pelham, New York. A lumberman's daughter, she was a model while in high school, and was selected the first "Miss Subways" of the New York City transit system in 1940

Paramount Pictures signed Freeman to a contract after she moved to Hollywood  She eventually signed a movie contract with Howard Hughes.

Her contract was later sold to Paramount Pictures. Her first film appearance was in the 1944 film Till We Meet Again. She became a popular teenage movie star. After a series of roles as a pretty, naive teenager, she complained of being typecast.

As an adult, Freeman's career slowed and she appeared in mostly B-movies, though an exception was her role in the film noir Angel Face (1952). She also co-starred in the hit film Jumping Jacks with the comedy team of Dean Martin and Jerry Lewis.

Freeman's appearances in films ended in the 1950s, but she continued to work in television. Among her appearances were seven guest roles on The United States Steel Hour from 1960 to 1962 and three on Perry Mason, all of them roles as Mason's client: Jane Wardman in "The Case of the Lurid Letter" (1962), Rosanne Ambrose in "The Case of the Illicit Illusion" (1964), and Ellen Payne in "The Case of the 12th Wildcat" (1965). She appeared in two episodes of Wanted: Dead or Alive starring Steve McQueen titled "The Fourth Headstone" (Season One, Episode 9, air date 11/1/1958) and "Breakout" (Season 2 Episode 4, aired 9/26/1959), and two episodes of Maverick titled "The Cats of Paradise" (1959) and "Cruise of the Cynthia B." (1960), both starring James Garner, in which she played a recurring role as crazy-eyed swindler Modesty Blaine. She also appeared in an episode of Riverboat titled "The Boy from Pittsburgh" (1959) starring Darren McGavin and Burt Reynolds, an episode of Checkmate titled "Don't Believe a Word She Says" (1961) starring Doug McClure and Sebastian Cabot, and an episode of The Tall Man titled "Petticoat Crusade" (1961) starring Barry Sullivan as Pat Garrett and Clu Gulager as Billy the Kid, along with numerous other leading lady roles in various television series, including anthologies.

Freeman was a portrait painter and concentrated on painting after 1961. Her best-known portrait is that of businesswoman Mary See, founder of See's Candies.

Freeman married Pat Nerney, a car dealer, in Los Angeles in 1945. The couple had one daughter, Mona. They divorced in 1952. In 1961, she married H. Jack Ellis, a businessman from Los Angeles.

Freeman died on May 23, 2014, at the age of 87 after a long illness, at her Beverly Hills home.  Wikipedia



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