Wanna hear something cool? My most pinned post ever- the Girls Weekend Gift in a Mason Jar that I featured here last spring- is being featured at Redbook Magazine today. This is why I love blogging! Since the spring version of a girls gift in a jar was so well received I thought it would be fun to make a winter version. Think of it as a Girlfriends Holiday Survival Kit in a Mason Jar!
Good holiday party ideas will help you save time in during planning and will also make the process less stressful for you. You can use shot glasses for soups, whether they are hot such as lobster Saki shooters or cold soups such as shots of cucumber.
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First thing I did was add some cozy bedding. Sherpa blankets replaced the girls regular comforters. Really that is all you need to make it more Wintery. The girls LOVE the super soft blankets. I made the bed with Christmas Flannel Sheets and added a large faux fur pillow to complete their beds.
We set their little Christmas Tree on their storage benches and a little Glittery Night Light House. A few Christmas Books replaced their regular books. A red throw that I used in the living room last year was the final touch for the girls Holiday Bedroom Decor.
Darlene Wright (born July 26, 1941),[a] better known by the stage name Darlene Love, is an American R&B and soul singer and actress. She was the lead singer of the girl group the Blossoms and she also recorded as a solo artist.
Love was invited annually by David Letterman to sing the song "Christmas (Baby Please Come Home)" on his late night television talk show just prior to the Christmas holidays. These performances started in 1986 on NBC's Late Night with David Letterman and continued on CBS's Late Show with David Letterman until 2014. Letterman called Love the "Christmas Queen". In 2015 she started singing the song annually on The View.
In 1962, the Blossoms were hired to sing on a session by producer Phil Spector.[8] His girl group, the Crystals, could not make it to Los Angeles in time for the session, so Wright was paid $5,000 to sing lead on "He's a Rebel."[8] This was Wright's first time on a Spector recording.[9] The single, credited to the Crystals, was hurriedly released by Spector on Philles Records to get his version of the Gene Pitney song onto the market before that of Vikki Carr.[10] The ghost release of this single came as a total surprise to the Crystals who were an experienced and much traveled girl harmony group in their own right, but they were nevertheless required to perform and promote the new single on television and on tour as if it were their own.[11] The single reached No. 1 on the Billboard Hot 100 in November 1962.[10]
Love recorded the track "Christmas (Baby Please Come Home)" for the 1963 holiday compilation album, A Christmas Gift for You from Phil Spector. The song was written by Jeff Barry and Ellie Greenwich, along with Phil Spector, with the intention of being sung by Ronnie Spector of the Ronettes. According to Love, Ronnie Spector was not able to put as much emotion into the song as needed. Instead, Love was brought into the studio to record the song, which became a large success over time and Love's signature tune.
In Holiday Hepburn stars as the unconventional, idealistic daughter of a wealthy businessman who dreams of escaping the suffocating boredom of her home, but lacks the confidence to break away. When a brash, exciting man from the wrong side of the tracks, Johnny Case (Cary Grant), enters the Seton household to marry her beautiful sister Julia (Doris Nolan), things seem to be changing for the better. But propriety, routine and the temptation of great wealth threaten to derail Johnny's dreams too in this tale of non-conformists versus the establishment.
An actor who spent his career playing debonair, moneyed gentleman in films like The Philadelphia Story (1940) and North by Northwest (1959), Grant plays humorously against type in Holiday as an eccentric trying to impress Julia's rich father and win his daughter's hand in marriage.
Hepburn was singled out with ample praise for her poignant, charismatic portrait of a repressed rich girl in Holiday though, ironically enough, she was rejected more than once for the part of Linda Seton. Hepburn had been an understudy for the role of Linda when Philip Barry's popular play appeared on Broadway, but the role in a 1930 Hollywood version went to Ann Harding. When Holiday was remade by Cukor in 1938, Columbia president Harry Cohn pressed for Irene Dunne, who had played opposite Grant in The Awful Truth the previous year. Hepburn had recently been named "box office poison" by the Independent Theater Owners Association and it seemed unlikely the idiosyncratic actress would beat out Irene Dunne for the part of Linda. But Cukor insisted on Hepburn, who bought herself out of her contract at RKO and went to Columbia to make Holiday.
Hepburn's persistence was rewarded with positive critical reviews, including the New York Herald Tribune which noted her "first-class screen acting." Grant, who worked on a number of productions with Hepburn including Sylvia Scarlett (1936), Bringing Up Baby (1938) and The Philadelphia Story, raved about his co-star in Holiday calling her "the most completely honest woman I've ever met."
Holiday was adapted to the screen by Algonquin humorist Donald Ogden Stewart, who also scripted The Philadelphia Story, Keeper of the Flame (1942) and Without Love (1945), all starring Hepburn. And Stewart's path had intersected with Hepburn's long before their Hollywood collaborations. Stewart had played Johnny Case's friend Nick Potter (a part Barry wrote with Stewart in mind) in the same Broadway stage version of Holiday in which Hepburn understudied Linda Seton.
Director: George Cukor
Producer: Everett Riskin
Screenplay: Donald Ogden Stewart, Sidney Buchman based on the play by Philip Barry
Cinematography: Franz Planer
Production Design: Stephen Goosson
Music: Sidney Cutner
Cast: Katharine Hepburn (Linda Seton), Cary Grant (Johnny Case), Doris Nolan (Julia Seton), Lew Ayres (Ned Seton), Edward Everett Horton (Nick Potter), Jean Dixon (Susan Potter).
BW-95m. Closed captioning.
by Felicia Feaster Holiday A "woman's director" known for his collaborations with a bevy of talented actresses, George Cukor's best known match-up was perhaps with Katherine Hepburn, an actress rarely understood by Hollywood executives but advantageously employed by the director. The vibrant star of his 1938 screwball comedy Holiday, Hepburn began her mutually beneficial collaboration with Cukor in 1932's A Bill of Divorcement and starred in eight of the director's sly, sophisticated film productions.In Holiday Hepburn stars as the unconventional, idealistic daughter of a wealthy businessman who dreams of escaping the suffocating boredom of her home, but lacks the confidence to break away. When a brash, exciting man from the wrong side of the tracks, Johnny Case (Cary Grant), enters the Seton household to marry her beautiful sister Julia (Doris Nolan), things seem to be changing for the better. But propriety, routine and the temptation of great wealth threaten to derail Johnny's dreams too in this tale of non-conformists versus the establishment.An actor who spent his career playing debonair, moneyed gentleman in films like The Philadelphia Story (1940) and North by Northwest (1959), Grant plays humorously against type in Holiday as an eccentric trying to impress Julia's rich father and win his daughter's hand in marriage.Hepburn was singled out with ample praise for her poignant, charismatic portrait of a repressed rich girl in Holiday though, ironically enough, she was rejected more than once for the part of Linda Seton. Hepburn had been an understudy for the role of Linda when Philip Barry's popular play appeared on Broadway, but the role in a 1930 Hollywood version went to Ann Harding. When Holiday was remade by Cukor in 1938, Columbia president Harry Cohn pressed for Irene Dunne, who had played opposite Grant in The Awful Truth the previous year. Hepburn had recently been named "box office poison" by the Independent Theater Owners Association and it seemed unlikely the idiosyncratic actress would beat out Irene Dunne for the part of Linda. But Cukor insisted on Hepburn, who bought herself out of her contract at RKO and went to Columbia to make Holiday.Hepburn's persistence was rewarded with positive critical reviews, including the New York Herald Tribune which noted her "first-class screen acting." Grant, who worked on a number of productions with Hepburn including Sylvia Scarlett (1936), Bringing Up Baby (1938) and The Philadelphia Story, raved about his co-star in Holiday calling her "the most completely honest woman I've ever met."Holiday was adapted to the screen by Algonquin humorist Donald Ogden Stewart, who also scripted The Philadelphia Story, Keeper of the Flame (1942) and Without Love (1945), all starring Hepburn. And Stewart's path had intersected with Hepburn's long before their Hollywood collaborations. Stewart had played Johnny Case's friend Nick Potter (a part Barry wrote with Stewart in mind) in the same Broadway stage version of Holiday in which Hepburn understudied Linda Seton.Director: George CukorProducer: Everett RiskinScreenplay: Donald Ogden Stewart, Sidney Buchman based on the play by Philip BarryCinematography: Franz PlanerProduction Design: Stephen GoossonMusic: Sidney CutnerCast: Katharine Hepburn (Linda Seton), Cary Grant (Johnny Case), Doris Nolan (Julia Seton), Lew Ayres (Ned Seton), Edward Everett Horton (Nick Potter), Jean Dixon (Susan Potter).BW-95m. Closed captioning.by Felicia Feaster Holiday (1938) - HOLIDAY - The 1938 Version by George Cukor on DVD January 8, 2007 Share "So daring -- so tender -- so human -- so true -- that everyone in love will want to see it!"
So reads the poster art for George Cukor's 1938 romantic comedy Holiday, but the marketing guys could just as well have sold it with, "The rich are different." This is a romantic comedy for the Depression years, in which "meet cute" meets Marx. Heady arguments about the true role of money and the meaning of life bump up against playful slapstick, and at one point Cary Grant shows his true feelings for the snobbery-set by hailing them with a Nazi salute. Who says screwball wasn't political?
Grant plays Johnny Case, the very embodiment of America's work ethic. A poor boy orphaned at a young age, Johnny has been obliged to work for a living since he was 10 years old. Now, a modestly successful financier, he has fallen head over heels for Julia Seton (Doris Nolan), first daughter of the storied Seton family, one of the nation's most prominent and stuck-up bunch of richies.
The patriarch of the Seton clan (Henry Kolker) dislikes the idea of his daughter marrying so palpably beneath her station, but Johnny's unyielding determination and natural charm bring him around. If the Seton family grudgingly accepts Johnny into its fold, no such patience is offered Johnny's dearest ambition: to "retire young and work old." Having become a self-made man, he has no interest in the Seton money, but simply wishes to go on an extended holiday while he is still young enough to enjoy life. Later, when he is older and wiser, then he'll return to work.
This is a wholesale rejection of the Seton's values. To the Seton clan, Johnny's ideas are practically communist, a blasphemy against the god of money.
Only Linda (Katharine Hepburn), the self-professed "black sheep" of the Setons, sees things Johnny's way. Too bad he's already engaged to her sister...
Loosely based on the life of Gertrude Sanfred Lejean, a real-life "Linda Seton" whose free-thinking ways made her a proto-feminist, Holiday began life as a 1929 Broadway show by playwright Philip Barry. Two years later it was adapted into a feature film by director Edward Griffith-but in the interim, the stock market had crashed, radically changing the context of the story. By 1938, the story's obvious anti-rich attitudes resonated even deeper with audiences than before, and gave the material a sharper edge than the usual screwball romance offering.
Cukor was in waiting at the MGM lot while his next gig, Gone With the Wind, lumbered slowly into readiness-to bide the time he was loaned out to Columbia to helm a remake of Holiday. Borrowing talent from other studios was Columbia's standard operating procedure in those days-why pay people all the time when you could hire them out on a per-job basis, thought Columbia exec Harry Cohn?
Bridging the production to past incarnations of the story, character actor Edward Everett Horton joined the cast playing the same supporting role he had originated in the 1930 film. That role, of Johnny's friend Nick Potter, had in turn been played onstage by Donald Ogden Stewart, who was hired by the producers as the screenwriter for the 1938 remake.
For the male lead, Columbia tapped freelance actor Cary Grant, already on a fast trajectory to stardom despite lacking a studio to call home. For his costar, Columbia turned to Katharine Hepburn, whose unconventional behavior at RKO had given her a reputation as box office poison. Indeed, Hepburn was as willful and independent as the character of Linda Seton, whom she had understudied during its Broadway run. Hepburn had even used one of her scenes from the stage version of Holiday in her very first screen test. If anyone was to do this right, it was her, and Columbia's quick-thinking publicity mavens promoted her appearance with such slogans as "Is It True What They Say About Katharine Hepburn?" They proved their point, and Hepburn successfully shed her old reputation in favor of a new stardom.
Following Holiday, Hepburn bought the rights to another Philip Barry play, The Philadelphia Story, so that she could control her next film and negotiate her own terms: these involved reuniting with director George Cukor, costar Cary Grant, and screenwriter Donald Ogden Stewart all over again.
To order Holiday, click here. Explore more Cary Grant titles here.
by David Kalat Holiday (1938) - HOLIDAY - The 1938 Version by George Cukor on DVD "So daring -- so tender -- so human -- so true -- that everyone in love will want to see it!" So reads the poster art for George Cukor's 1938 romantic comedy Holiday, but the marketing guys could just as well have sold it with, "The rich are different." This is a romantic comedy for the Depression years, in which "meet cute" meets Marx. Heady arguments about the true role of money and the meaning of life bump up against playful slapstick, and at one point Cary Grant shows his true feelings for the snobbery-set by hailing them with a Nazi salute. Who says screwball wasn't political?Grant plays Johnny Case, the very embodiment of America's work ethic. A poor boy orphaned at a young age, Johnny has been obliged to work for a living since he was 10 years old. Now, a modestly successful financier, he has fallen head over heels for Julia Seton (Doris Nolan), first daughter of the storied Seton family, one of the nation's most prominent and stuck-up bunch of richies. The patriarch of the Seton clan (Henry Kolker) dislikes the idea of his daughter marrying so palpably beneath her station, but Johnny's unyielding determination and natural charm bring him around. If the Seton family grudgingly accepts Johnny into its fold, no such patience is offered Johnny's dearest ambition: to "retire young and work old." Having become a self-made man, he has no interest in the Seton money, but simply wishes to go on an extended holiday while he is still young enough to enjoy life. Later, when he is older and wiser, then he'll return to work. This is a wholesale rejection of the Seton's values. To the Seton clan, Johnny's ideas are practically communist, a blasphemy against the god of money. Only Linda (Katharine Hepburn), the self-professed "black sheep" of the Setons, sees things Johnny's way. Too bad he's already engaged to her sister... Loosely based on the life of Gertrude Sanfred Lejean, a real-life "Linda Seton" whose free-thinking ways made her a proto-feminist, Holiday began life as a 1929 Broadway show by playwright Philip Barry. Two years later it was adapted into a feature film by director Edward Griffith-but in the interim, the stock market had crashed, radically changing the context of the story. By 1938, the story's obvious anti-rich attitudes resonated even deeper with audiences than before, and gave the material a sharper edge than the usual screwball romance offering. Cukor was in waiting at the MGM lot while his next gig, Gone With the Wind, lumbered slowly into readiness-to bide the time he was loaned out to Columbia to helm a remake of Holiday. Borrowing talent from other studios was Columbia's standard operating procedure in those days-why pay people all the time when you could hire them out on a per-job basis, thought Columbia exec Harry Cohn? Bridging the production to past incarnations of the story, character actor Edward Everett Horton joined the cast playing the same supporting role he had originated in the 1930 film. That role, of Johnny's friend Nick Potter, had in turn been played onstage by Donald Ogden Stewart, who was hired by the producers as the screenwriter for the 1938 remake. For the male lead, Columbia tapped freelance actor Cary Grant, already on a fast trajectory to stardom despite lacking a studio to call home. For his costar, Columbia turned to Katharine Hepburn, whose unconventional behavior at RKO had given her a reputation as box office poison. Indeed, Hepburn was as willful and independent as the character of Linda Seton, whom she had understudied during its Broadway run. Hepburn had even used one of her scenes from the stage version of Holiday in her very first screen test. If anyone was to do this right, it was her, and Columbia's quick-thinking publicity mavens promoted her appearance with such slogans as "Is It True What They Say About Katharine Hepburn?" They proved their point, and Hepburn successfully shed her old reputation in favor of a new stardom. Following Holiday, Hepburn bought the rights to another Philip Barry play, The Philadelphia Story, so that she could control her next film and negotiate her own terms: these involved reuniting with director George Cukor, costar Cary Grant, and screenwriter Donald Ogden Stewart all over again. To order Holiday, click here. Explore more Cary Grant titles here.by David Kalat Quotes What's the use of having all this jack around if it can't get us a superior kind of man? - Linda Someone stop me; O someone please, just try and stop me! - Linda Seton When I find myself in a position like this, I ask myself what would General Motors do? and then I do the opposite! - Johnny Case For the love of Pete... it's the Wicked Witch and Dopey! - Linda Seton You've got no faith in Johnny, have you, Julia. His little dream may fall flat, you think. Well, so it may, what if it should? there'll be another. Oh, I've got all the faith in the world in Johnny. Whatever he does is alright with me. If he wants to dream for a while, he can dream for a while, and if he wants to come back and sell peanuts, oh! How I'll believe in those peanuts! - Linda Seton Trivia Edward Everett Horton repeats the role of Nick Potter, which he also played in the previous version of the film, Holiday (1930). ff782bc1db
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