Hey Folks...

I’m suffering from one of my periodic cases of Tumblr burnout, so I’m out of here for a bit.  Until my return just remember, I’ll let you be in my dream if I can be in yours.  

Douglas Gilbert Bob Dylan and Friends Hanging Out at the Kettle of Fish Bar, Christopher Street Near 7th Ave, Greenwich Village, New York City 1964

Douglas Gilbert Mason Hoffenberger, John Sebastian and Bob Dylan, Cafe Espresso, Woodstock, New York 1964

Daniel Kramer Bob Dylan and Sally Grossman, New York City 1964

Alain Delon, Screenshot from Jean-Pierre Melville's "Le Samouraï" 1967

Jane Greer and Robert Mitchum, Uncredited Publicity Still from Jacques Tourneur's "Out of the Past" 1947

Robert Mitchum, Uncredited Publicity Still from Jacques Tourneur's "Out of the Past" 1947

Ava Gardner, Uncredited Publicity Still from Robert Siodmak's "The Killers" 1946

Screenshot from Robert Siodmak's "The Killers" 1946

Humphrey Bogart, Screenshot from John Huston's "The Maltese Falcon" 1941

Barbara Stanwyck and Fred MacMurray, Screenshot from Billy Wilder's "Double Indemnity" 1944

Jean Wallace and Cornell Wilde, Publicity Still from Joseph H Lewis' "The Big Combo" 1955

Ernest A Bachrach Robert Mitchum and Jane Greer, Publicity Still for Jacques Tourneur’s "Out of the Past" 1947

Ottocaro Weiss James Joyce, London 1915

"It soared, a bird, it held its flight, a swift pure cry, soar silver orb it leaped serene, speeding, sustained, to come, don't spin it out too long long breath he breath long life, soaring high, high resplendent, aflame, crowned, high in the effulgence symbolistic, high, of the ethereal bosom, high, of the high vast irradiation everywhere all soaring all around about the all, the endlessnessnessness…"

Happy Bloomsday (1 day late), everyone.

Uncredited Photographer Burt Lancaster and Ava Gardner, Publicity Still from Robert Siodmak's "The Killers" 1946

Glenda Jackson Gazing at Murray Head, Who Both She and Her Husband (Peter Finch) Are Having Affairs With, While He Showers, from John Schlesinger's "Sunday Bloody Sunday" 1971

Glenda Jackson - 1936-2023 - Ave atque Vale

Glenda Jackson and Patrick Magee "De Sade is Whipped," from Peter Brook’s Filmed Version of His Production of the Peter Weiss Play “The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade” (Marat/Sade), the Royal Shakespeare Company 1967

This scene is more Magee than Jackson, but she's still great in it. It's also one of the more kinky scenes in 1960's British theater.

Glenda Jackson - 1936-2023 - Ave atque Vale

Glenda Jackson As Charlotte Corday Singing "Of Brotherly Love We Sweetly Sung," from Peter Brook's Filmed Version of His Production of the Peter Weiss Play "The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade" (Marat/Sade), the Royal Shakespeare Company 1967

Glenda Jackson - 1936-2023 - Ave atque Vale

Glenda Jackson, Uncredited Publicity Still from Melvin Frank’s “A Touch of Class”    1973

“I had no real ambition about acting. But I knew there had to be something better than the bloody chemist's shop.“ Glenda Jackson

Glenda Jackson  -  1936-2023  -  Ave atque Vale

You will search, babe

At any cost

But how long, babe

Can you search for what is not lost?

Everybody will help you

Some people are very kind

But if I can save you any time

Come on, give it to me

I’ll keep it with mine

I can’t help it

If you might think I am odd

If I say I’m loving you not for what you are

But for what you're not

Everybody will help you

Discover what you set out to find

But if I can save you any time

Come on, give it to me

I’ll keep it with mine

The train leaves

At half past ten

But it will be back

In the same old spot again

The conductor

He’s still stuck on the line

And if I can save you any time

Come on, give it to me

I’ll keep it with mine

--

I've adored this song since the first time I heard it as a teenager. I didn't know why I couldn't find it on an album and I had no idea what an "outtake" was. I heard a bootleg version, with miserable sound quality but its plaintive beauty killed me then and it still does now.