Tuesday Tunes!

Tuesday Tunes

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              HAPPY NEW YEAR!


Today for Tuesday Tunes we are featuring the works of…

        Donald O’Conner


I was born and raised to entertain other people. I’ve heard laughter and applause and known a lot of sorrow. Everything about me is based on show business – I think it will bring me happiness. I hope so.



Though he considered Danville, Illinois to be his home town, O’Connor was born in St. Elizabeth Hospital in Chicago. His parents, Effie Irene (née Crane) and John Edward “Chuck” O’Connor, were vaudeville entertainers. His father’s family was from County Cork, Ireland.[3] When O’Connor was only a few years old, he and his sister Arlene were in a car crash outside a theater in Hartford, Connecticut; O’Connor survived, but his sister was killed. Several weeks later, his father died of a heart attack while dancing on stage in Brockton, Massachusetts.[4] O’Connor at the time was being held in the arms of the theater manager, Mr. Maurice Sims.

O’Connor began performing in movies in 1937. He appeared opposite Bing Crosby in Sing You Sinners at age 12. Paramount Pictures used him in both A and B films, including Tom Sawyer, Detective and Beau Geste. In 1940, when he had outgrown child roles, he returned to vaudeville. In 1942, O’Connor joined Universal Pictures where he played roles in four of the Gloria Jean musicals, and achieved stardom with Mister Big (1943).

In 1944, O’Connor was drafted into the Army. Before he reported for induction, Universal Pictures rushed him through production of three feature films simultaneously and released them when he was overseas. After his discharge, Universal (now reorganized as Universal-International) cast him in lightweight musicals and comedies.

In 1949, he played the lead role in Francis, the story of a soldier befriended by a talking mule. The film was a huge success. As a consequence, his musical career was constantly interrupted by production of one Francis film per year until 1955. It was because of the Francis series that O’Connor missed playing Bing Crosby’s partner in White Christmas. O’Connor was unavailable because he contracted an illness transmitted by the mule, and was replaced in the film by Danny Kaye.

O’Connor’s role as Cosmo the piano player in Singin’ in the Rain earned him a Golden Globe Award for Best Performance by an Actor in a Comedy or Musical. The film featured his memorable rendition of Make ‘Em Laugh. O’Connor was a regular host of NBC‘s Colgate Comedy Hour. He hosted a color television special on NBC in 1957, one of the earliest color programs to be preserved on a color kinescope; an excerpt of the telecast was included in NBC’s 50th anniversary special in 1976. In 1954, he starred in his own television series, The Donald O’Connor Show on NBC. In 1968, O’Connor hosted a syndicated talk show also called The Donald O’Connor Show.

O’Connor overcame alcoholism after being hospitalized in 1978. His career had a boost when he hosted the Academy Awards, which earned him two Primetime Emmy nominations. He appeared as a gaslight-era entertainer in the 1981 film Ragtime, notable for similar encore performances by James Cagney and Pat O’Brien. It was his first feature film role in 16 years.

O’Connor appeared in the short-lived Bring Back Birdie on Broadway in 1981, and continued to make film and television appearances into the 1990s, including the Robin Williams film Toys as the president of a toy-making company. He had guest roles in 1996 in a pair of popular TV comedy series, The Nanny and Frasier.

In 1998, he received a Golden Palm Star on the Palm Springs, CaliforniaWalk of Stars. O’Connor’s last feature film was the Jack LemmonWalter Matthau comedy Out to Sea, in which he played a dance host on a cruise ship. O’Connor was still making public appearances well into 2003.

The most distinctive characteristic of O’Connor’s dancing style was its athleticism, for which he had few rivals. Yet it was his boyish charm that audiences found most engaging, and which remained an appealing aspect of his personality throughout his career. In his early Universal films, O’Connor closely mimicked the smart alec, fast talking personality of Mickey Rooney of rival MGM Studio. For Singin’ in the Rain, however, MGM cultivated a much more sympathetic sidekick persona, and that remained O’Connor’s signature image.

O’Connor nearly died from pneumonia in January 1998. He died from complications of heart failure on September 27, 2003 at age 78 at the Motion Picture & Television Country House and Hospital, in Woodland HillsCalifornia. His remains were cremated and buried at the Forest Lawn–Hollywood Hills Cemetery in Los Angeles. O’Connor was survived by his wife, Gloria, and four children. Gloria O’Connor died from natural causes on June 4, 2013, aged 84.


Incredible balloon dance!


Make ‘Em Laugh from Singin’ in the Rain


Walking My Baby Back Home



Fun Facts About Mr. Donald O’ Connor 


Judy Garland, whom he knew as a child, was one of his best friends.

Was suppose to co-star with Bing Crosby in the perennial film classic White Christmas(1954) in 1954 but was sidelined with pneumonia and replaced by Danny Kaye.

Allegedly didn’t enjoy working with Gene Kelly while filming Singin’ in the Rain (1952), because he found him to be a bit of a tyrant on set.

Made his film debut at age 12 in Melody for Two (1937) with his two brothers, Jack O’Connor and Billy O’Connor, doing a specialty routine. Billy died a year or two later after contracting scarlet fever.

Despite failing health in 2003, he made appearances at the Roger Ebert Overlooked Film Festival and the opening of the Judy Garland Museum.

While he’s hesitant to select a favorite film, he’s quick to single out his favorite performance: “Call Me Madam (1953) – my favorite number is in there with Vera-Ellen. It’s the number I do out in the garden with her to “It’s a Lovely Day Today”. It’s a beautiful lyrical number. I think she was the best dancer outside of Peggy Ryan I ever danced with”.


MFA Monday

MFA Mondays

Got a case of the Mondays?


Well, this will surely lift your spirits! Another installment of musings from Master of Fine Arts holder, Heather Nabors! Enjoy!



 Heather Nabors is the Assistant Director of Dance Programs at Rice University. Heather relocated to Houston this summer from North Carolina. Heather has been a teacher and freelance choreographer in NC since 2005. She served as an adjunct faculty member at Catawba College, Greensboro College, Elon University, and UNCG. In 2012, Heather founded ArtsMash, a collaborative arts concert in NC. Her work has been presented at ArtsMash, The Saturday Series, UNCG Dance Department Alumni Concert, Greensboro Fringe Festival and the American Dance Festival’s Acts to Follow. She has choreographed over 14 musicals in NC for community theaters and local high schools including RentOklahoma! ,The King & I, Legally Blonde, Little Shop of Horrors, and Children of Eden. Heather received her MFA in Choreography from The University of North Carolina at Greensboro.




Stop, Collaborate, and Listen


I am an only child. When I was seven, my favorite t-shirt exclaimed “I’m the boss” in 70’s iron on fabulousness. I did not enjoy sharing my toys with my younger cousin. I did not appreciate being told what to do by anyone. I would create countless dances in my bedroom and force my mother to watch every last one of them.  It took a little while, but eventually I grew out of this self-centered phase (well, for the most part) and over the years, I have learned how to work quite well with others.

One of the best lessons I have learned from my work in musical theater is the art of collaboration. As a choreographer, I am used to being in charge. It is my dance and I make the final decisions. (“I’m the boss,” remember?) When I am choreographing a musical, artistically, I am the low woman on the totem pole. I have been fortunate to work with good directors who respect my opinion, but I know that if my choreography interferes with singing or action on the stage, I have to rework it. The music and dialogue are set, so I have to be flexible. I have a healthy ego, but I know when to leave it at the door. It is a trait that has served me well and has allowed me to continue working.

My graduate school did not have a combined performing arts department and I don’t remember any department co-mingling or collaboration. The only non-dancers I saw enter the dance building were the pianists who accompanied our technique classes. One semester, I ventured out a bit and took an art class with a fellow dancer. We were the only non-art majors in the class and our classmates regularly spent class staring at us as if we belonged to some exotic species of bird. Unfortunately, I never considered venturing to the music building and asking a music student to write a piece for me. When I first experienced the intense collaborative process of putting together a musical, I realized what I had been missing. I had always enjoyed the feedback process offered in choreography class, but I had never worked with anyone outside my field. It was refreshing to get a non-dance perspective on things and bounce ideas off other artists with radically different backgrounds.

A few years ago, I met a lovely musician and asked him to create a score for me. This collaboration was one of the most exciting and frustrating experiences of my life. I am a task driven list maker. My partner for this collaborative process was a little more laid back. I had to develop a new set of skills that allowed for freedom on both ends and didn’t squash his or my artistic voice. I also had to loosen the reins and put faith in his ability to create something that enhanced my work and expressed his point of view.  I videotaped my rehearsals and we viewed them together. I tweaked my work to fit his notes and he found the nuances in my movements and used that to fuel his writing. The piece turned out well and I loved this collaboration so much that I am marrying the composer. (I can now have free music whenever I want it! Yay!)

As choreographers, we can become isolated and lose our sense of community and collaboration. It is easy to get tunnel vision and miss connections with other artists that can inform and reinvigorate our work. Furthermore, I have seen many choreographers lose jobs and burn bridges because they never learned to play well with others. Use your graduate school experience to form partnerships outside the dance community. Collaborate with painters, musicians, filmmakers, and mimes. Take in all the art on your campus and let that fuel your creativity. It is great to be surrounded by a supportive group of dancers, but there is much to be learned from artists in other disciplines as well.


2×5 with Liminal Space, a success!

Composers Performances/Screenings

Hi Framers,

I hope you had a joyous Christmas and have some funky New Year’s plans.  I had fun checking out Emily’s New Year’s Party advice on the Links We Like Friday today.  (check it out!)

Joel Luks of Culturemap wrote this about our work:

“Hance, as she explained, responded to the music by creating a framework anchored by clearly defined matrices that expanded from their contained spatial area, both in terms of the use of space and the movement vocabulary. What began with four dancers walking in unison, which echoed the tonal center of the music, broke away into independent pathways that developed into leaping solos, duets and trios.

Her approach mirrored the aesthetic of minimalism, which exploits what can be achieved with a limited number of elements.

What was remarkable in Hance’s choreography is that she offered another access point for listeners to synthesize the perceived monotony of Reich’s work. Whether on purpose or by accident, the dance provided an opportunity to better understand the score while juxtaposing an emotional abstract narrative that centered on how it feels to be released from a restrained environment — a triumph for Liminal Space, Hance and dancers Jacquelyne Jay Boe, Laura Gutierrez, Ashley Horn and Alex Soares.”  You can read the whole article here.

I wanted to post some incredible photos from the performance of Steve Reich’s 2×5 that we did earlier this month with Liminal Space Contemporary Music.  The photos are by David DeHoyos and we are so thankful to him!

You can click on any of the photos and view the gallery.

Warmest wishes and as always,

To Art,


Links We Like!

Links We Like

Hi Framers! I hope you all had a great Christmas! Now, if you’re already getting ready to ring in the New Year, here are some great and fun ideas to celebrate 2014!


     New Years Eve Party!


What to serve…

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What to drink…

8c7e18aab8ba8b1228d8a39859bfab9f Blue_Sparkling_Star


The Blue Star:

Champagne, Blue Curacao and Vodka 








What to wear…

Last-Minute-New-Year’s-Eve-Party-Decoration-party-hats Last-Minute-New-Year’s-Eve-Party-Decoration-funny-accessories









How to decorate…









DIY-glitter-New-Years-candles Last-Minute-New-Year’s-Eve-Party-Decoration-blowers-garlands








Tuesday Tunes!

Tuesday Tunes

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 Merry Christmas Eve Framers!


Judy Garland!

One of the brightest, most tragic movie stars of Hollywood’s Golden Era, Judy Garland was a much-loved character whose warmth and spirit, along with her rich and exuberant voice, kept theatre-goers entertained with an array of delightful musicals.

She was born Frances Ethel Gumm on 10 June 1922 in Minnesota, the youngest daughter of vaudevillians Frank and Ethel Gumm. Her mother, an ambitious woman gifted in playing various musical instruments, saw the potential in her daughter at the tender age of just 2 years old when Baby Frances repeatedly sang “Jingle Bells” until she was dragged from the stage kicking and screaming during one of their Christmas shows and immediately drafted her into a dance act, entitled “The Gumm Sisters”, along with her older sisters Mary Jane Gumm and Virginia Gumm. However, knowing that her youngest daughter would eventually become the biggest star, Ethel soon took Frances out of the act and together they traveled across America where she would perform in nightclubs, cabarets, hotels and theaters solo.

Her family life was not a happy one, largely because of her mother’s drive for her to succeed as a performer and also her father’s closeted homosexuality. The Gumm family would regularly be forced to leave town owing to her father’s illicit affairs with other men, and from time to time they would be reduced to living out of their automobile. However, in September 1935 the Gumms’, in particular Ethel’s, prayers were answered when Frances was signed by Louis B. Mayer, mogul of leading film studio MGM, after hearing her sing. It was then that her name was changed from Frances Gumm to Judy Garland, after a popular ’30s song “Judy” and film critic Robert Garland. Judy’s career did not officially kick off until she sang one of her most famous songs, “You Made Me Love You”, at Clark Gable‘s birthday party in February 1937, during which Louis B. Mayer finally paid attention to the talented songstress.

Prior to this her film debut in Pigskin Parade (1936), in which she played a teenage hillbilly, had left her career hanging in the balance. However, following her rendition of “You Made Me Love You”, MGM set to work preparing various musicals with which to keep Judy busy. All this had its toll on the young teenager, and she was given numerous pills by the studio doctors in order to combat her tiredness on set. Another problem was her weight fluctuation, but she was soon given amphetamines in order to give her the desired streamlined figure. This soon produced the downward spiral that resulted in her lifelong drug addiction.

In 1939, Judy shot immediately to stardom with The Wizard of Oz (1939), in which she portrayed Dorothy, an orphaned girl living on a farm in the dry plains of Kansas who gets whisked off into the magical world of Oz on the other end of the rainbow. Her poignant performance and sweet delivery of her signature song, ‘Over The Rainbow’, earned Judy a special juvenile Oscar statuette on 29 February 1940 for Best Performance by a Juvenile Actor. Now growing up, Judy began to yearn for meatier adult roles instead of the virginal characters she had been playing since she was 14.

By this time, Judy had starred in her first adult role as a vaudevillian during WWI in For Me and My Gal (1942). In November 1943, Judy  began filming Meet Me in St. Louis (1944), which proved to be a big success. The director Vincente Minnelli highlighted Judy’s beauty for the first time on screen, having made the period musical in color, her first color film since The Wizard of Oz (1939). He showed off her large brandy-brown eyes and her full, thick lips and after filming ended in April 1944, a love affair resulted between director and actress and they were soon living together. Vincente began to mold Judy and her career, making her more beautiful and more popular with audiences worldwide. He directed her in The Clock (1945), and it was during the filming of this movie that the couple announced their engagement on set on 9 January 1945.

But married life was never the same for Vincente and Judy after they filmed The Pirate (1948) together in 1947. Judy’s mental health was fast deteriorating and she began hallucinating things and making false accusations toward people, especially her husband, making the filming a nightmare. She then teamed up with dancing legend Fred Astaire for the delightful musical Easter Parade(1948), which resulted in a successful comeback despite having Vincente fired from directing the musical. Afterwards, Judy’s health deteriorated and she began the first of several suicide attempts. In May 1949, she was checked into a rehabilitation center, which caused her much distress.

On returning, Judy made In the Good Old Summertime (1949), which was also Liza’s film debut, albeit via an uncredited cameo. She had already been suspended by MGM for her lack of cooperation on the set of The Barkleys of Broadway (1949), which also resulted in her getting replaced by Ginger Rogers. After being replaced by Betty Hutton on Annie Get Your Gun (1950), Judy was suspended yet again before making her final film for MGM, entitled Summer Stock (1950). At 28, Judy received her third suspension and was fired by MGM, and her second marriage was soon dissolved.

Judy signed a film contract with Warner Bros. to star in the musical remake of A Star Is Born (1937), which had starred Janet Gaynor, who had won the first-ever Academy Award for Best Actress in 1929. She won a Golden Globe for her brilliant and truly outstanding performance as Esther Blodgett, nightclub singer turned movie star, but  Judy lost out on the Best Actress Oscar to Grace Kelly for her portrayal of the wife of an alcoholic star in The Country Girl (1954).

At age 41, she made her final performance on film alongside Dirk Bogarde in I Could Go on Singing (1963). She continued working on stage, appearing several times with her daughter Liza. It was during a concert in Chelsea, London, that Judy stumbled into her bathroom late one night and died of an overdose of barbiturates, the drug that had dominated her much of her life, on the 22nd of June 1969 at the age of 47.She is still an icon to this day with her famous performances in The Wizard of Oz (1939), Meet Me in St. Louis (1944), Easter Parade (1948), and A Star Is Born (1954).

MFA Monday!

MFA Mondays




MFA right










Another Monday! Another start to a great, full week!

Another  MFA Monday featuring….

(drum rrrroll please)

            Heather Nabors!



Heather Nabors is the Assistant Director of Dance Programs at Rice University. Heather relocated to Houston this summer from North Carolina. Heather has been a teacher and freelance choreographer in NC since 2005. She served as an adjunct faculty member at Catawba College, Greensboro College, Elon University, and UNCG. In 2012, Heather founded ArtsMash, a collaborative arts concert in NC. Her work has been presented at ArtsMash, The Saturday Series, UNCG Dance Department Alumni Concert, Greensboro Fringe Festival and the American Dance Festival’s Acts to Follow. She has choreographed over 14 musicals in NC for community theaters and local high schools including RentOklahoma! ,The King & I, Legally Blonde, Little Shop of Horrors, and Children of Eden. Heather received her MFA in Choreography from The University of North Carolina at Greensboro.


The “MFA Monday” series features the musings of local Master of Fine Arts holders. Enjoy their thoughts on the process of attaining an MFA!


I Love Jazz Hands

I love modern dance. It is wonderful and fulfilling, but it doesn’t always pay the bills. Prior to moving to Houston, I spent nearly a decade making a living teaching jazz, tap, ballet, modern, and dance for musical theater, and choreographing musicals for community theater.

As a young studio kid, I was a full fledged Jazzerina. I spent my early years studying everything from jazz and tap to ballet and acrobatics. In college, I discovered modern dance and though it felt a little foreign in my body at first, I soon warmed to this new way of moving and developed a deep love and appreciation for modern dance. I was drawn to graduate school by my love of choreography. Once there, I was fully immersed in modern dance up to my eyeballs and I loved every minute of it.

While my graduate program did not openly discourage studying other forms of dance, it was not exactly encouraged either and the pickings were slim. There were a limited number of jazz classes (though none were taught by faculty) and tap was only offered because one of the graduate TAs had the ability to teach the class. Though it was never explicitly stated as such, the message was implicit: modern dance was “high art” while other dance forms were seen as mere entertainment; suitable for commercial pursuits but not worthy of serious study.

In graduate school, I imagined I would land a full-time teaching job within a year of graduating and soon after, would start my own modern dance company. (Totally realistic, right?) However, when I began looking for teaching jobs, I found modern dance jobs scarce and I quickly realized that in my area of North Carolina, the need was for teachers who could teach jazz in theater departments. The reality of life quickly hit me in the face and I dusted off my old jazz shoes in pursuit of a modified career path. I started teaching jazz to beginning theater students and to my surprise and delight, it was awesome! I found them open to everything and completely receptive. They didn’t see dance as commercial vs. artistic, they just wanted to move and learn the basic skills to help them succeed in a musical theater audition. Around the same time, a friend and colleague mentioned that her husband was looking for a choreographer for a musical he was directing and wanted to know if I would be interested. I instantly accepted the opportunity and so began my entrance into choreographing musical theater.

During these intense jazz and musical theater years, I learned many things about myself. I really love jazz. I love musical theater. I love working with beginners who have no formal training. And my love of these things in no way negates my love of modern dance. I don’t care what kind of dance I am teaching – I just want to move!

In graduate school, you may have visions of what you think your career will be like, but these plans may go slightly askew. Be open to every opportunity and don’t be afraid to dive into the “commercial” side of dance. Don’t limit yourself to only working in dance departments and reject teaching classes that are not a level 4 modern technique class. My working colleagues in North Carolina earn their bread and butter from being amazing tap, jazz, and hip hop instructors. In my new position at Rice, I get the best of both worlds. I get to work and train wonderful students who love modern dance. I also get to teach beginning level jazz dancers, some of whom come to me not knowing a jazz square from a square root.

I love dance in all shapes and sizes. It challenges me, awakes my senses and inspires me. I love the shift of weight, curve of the spine and release I get from modern dance. I also love a good jazz hand and tapping out the shim sham on a wood floor.  As a student, I felt the need to choose art or entertainment. As an adult, I know it’s all just dance and it rocks.


Free Events Thursday!

Free Events Thursday


Besides finishing up your Christmas shopping, here are some fun things to do this weekend!


Handel’s Messiah 10th Anniversary Performances

8 pm December 19, 20 & 21.

As our tenth season unfolds, we anticipate yet another wonderful experience for the Christmas season. The CEPC choir and orchestra along with special guest soloists will once again delight you with this special masterwork. Handel’s Messiah has become a wonderful tradition here at Christ Evangelical Presbyterian Church.

Tickets: Free general admission tickets will be available at 7 pm each evening for that evening’s performance. Tickets are distributed on a first-come, first-served basis, so please arrive early.


Friday Night Flicks At The ICE (Discovery Green)

Friday, Dec 20, 2013 at 6:30 PM

Skate and watch or just enjoy the movie. Free Movie, Skating Fees Apply. A Christmas Story.

Movies will be oriented towards the ICE rink. Feel free to bring blankets and chairs to view from the White Promenade and Lake House Deck. Movies will be oriented towards the ICE rink. You are welcome to bring blankets,and chairs to view from the White Promenade and The Lake House Deck. Food, beer and wine are available at the Lake House. No glass containers or outside alcoholic beverages, please.



Prestonwood Forest

December 7 – December 29 (dusk to 10 pm weekdays and till 11 pm weekends).

This is considered the “granddaddy” of Houston neighborhoods with entire streets participating in elaborate light displays since the 1970s. The neighborhood is off  Tomball Parkway (SH249).



Dickinson Festival of Lights (Dickinson)

Nightly through January 1, 6 pm – 9 pm.

Free walk-through lights display at Paul Hopkins Park. All parking and shuttle buses are free. Parking on weekends is courtesy the Dickinson Plaza Shopping Center, exit 19, I-45 N feeder.



Theatre Under The Stars presents Elf – The Musical

December 19th-December 22nd

Hobby Center for the Performing Arts
800 Bagby St.
Houston, TX 77002

Tickets: $24 – $127


A.D. Players presents The Pass-It-On Christmas

Friday-Saturday, December 20th-December 21st at 10:30 AM

A. D. Players
2710 W. Alabama St.
Houston, TX 77098

Follow a zany troupe of actors as they recount the adventures of a shepherd boy and his lamb crossing the countryside, passing on the news that Jesus is born.

Ticket: $10


Houston Children’s Chorus presents “A Concert of Sacred Christmas Music” 

Saturday, December 21st at 3 PM & 6 PM.

Villa de Matel
6510 Lawndale Street
Houston, TX 77023

Set in the chapel on the campus of the Villa de Matel Convent, “A Concert of Sacred Christmas Music” features the voices of the Houston Children’s Chorus. Enjoy the spirit of the season as the children express the gentleness of Christmas through classic sacred selections. Website: houstonchildren.org

Tickets: $15



Eat Well Wednesday

Eat Well Wednesday Uncategorized










Merry Christmas! Only one more week!

I hope this season is blessing you with joy and peace! 



Sugar-Coated Pecans 



Don’t they look AMAZING?!!  And besides the sugar, this is a pretty healthy treat.


Pecans are a wonderful source of minerals, heart healthy fats, and vitamins such as B-6 and Vitamin E.  
Keeping this treat serving size to 1/4 cup will give you the perfect dose of sweet without overdosing on excess calories.



Here are the ingredients you need for Sugar-Coated Pecans…..

  • 1 Egg White
  • 1 Tablespoon of Water
  • 1 Pound Pecan Halves
  • 1 Cup Sugar
  • 3/4 Teaspoon Salt
  • 1/2 Teaspoon of Cinnamon




1. Pre-heat oven to 250 and spray baking sheet with cooking spray or line with baking Silpat.

2. In a medium bowl, add egg white and 1 tablespoon of water.  Beat with hand mixer until frothy, about 2 minutes

3. In a medium bowl, add sugar, salt, and cinnamon and stir together.

4. Pour pecans in egg white mixture and coat well.

5. Pour pecans into sugar mixture and coat well.

6.  Spread pecans out on greased or lined baking sheet.

7. Bake at 250 degrees for 1 hour, stirring every 15 minutes.

Wrap these sugar-coated pecans up in a clear treat bag and tie with a cute ribbon.  There you have it! A perfect Holiday treat for you or a loved one.


Enjoy and Be Well!



0-1Jill Tarpey is leading us Wednesday by Wednesday into making better food choices and being more healthful.  Tune in every Wednesday to get some great recipes and advice from someone who really knows health.  In an effort to fuel her passion to serve as well has enhance the lives of others through their nutritional choices, she started Eat Well SA (San Antonio). Her vision is to educate you on how to incorporate a healthy array of foods into your life.  Eat Well is not a diet, nor does it embrace any one specific dietary agenda. She also offers customized programs that are educational and teach you the tools you need to maintain healthy, well-balanced eating for your busy lives.



Tuesday Tunes!

Tuesday Tunes

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         Rita Hayworth



” I was certainly a well-trained dancer. I’m a good actress: I have depth. I have feeling. But they don’t care. All they want is the image.”


Margarita Carmen Cansino was born on October 17, 1918, in Brooklyn, New York, into a family of dancers. Her father, Eduardo was a dancer as was his father before him. He emigrated from Spain in 1913. Rita’s mother met Eduardo in 1916 and were married the following year. Rita, herself, studied as a dancer in order to follow in her family’s footsteps. She joined her family on stage when she was eight years old when her family was filmed in a movie called La Fiesta (1926). It was her first film appearance, albeit an uncredited one.

Rita was seen dancing by a 20th Century Fox executive and was impressed enough to offer her a contract. Rita’s “second” debut was in the film Cruz Diablo (1934) at age 16. She continued to play small bit parts in several films under the name of “Rita Cansino” until she played the second female lead in Only Angels Have Wings (1939) when she played Judy McPherson. By this time, she was at Columbia where she was getting top billing but it was the Warner Brothers film The Strawberry Blonde (1941) that seemed to set her apart from the rest of what she had previously done. This was the film that exuded the warmth and seductive vitality that was to make her famous. Her natural, raw beauty was showcased later that year in Blood and Sand (1941), filmed in Technicolor. She was probably the second most popular actress after Betty Grable. In You’ll Never Get Rich (1941) with Fred Astaire, was probably the film that moviegoers felt close to Rita. Her dancing, for which she had studied all her life, was astounding.

After the hit Gilda (1946), her career was on the skids. Although she was still making movies, they never approached her earlier success. The drought began between The Lady from Shanghai (1947) and Champagne Safari (1954). Then after Salome (1953), she was not seen again until Pal Joey (1957). Part of the reasons for the downward spiral was television, but also Rita had been replaced by the new star at Columbia, Kim Novak. After a few, rather forgettable films in the 1960s, her career was essentially over.

Her final film was The Wrath of God (1972). Her career was really never the same after Gilda (1946). Her dancing had made the film and it had made her. Perhaps Gene Ringgold said it best when he remarked, “Rita Hayworth is not an actress of great depth. She was a dancer, a glamorous personality, and a sex symbol. These qualities are such that they can carry her no further professionally.” Perhaps he was right but Hayworth fans would vehemently disagree with him. Rita, herself, said, “Every man I have known has fallen in love with Gilda and wakened with me”. By 1980, Rita was hit with Alzheimer’s Disease. It ravaged her so, and she finally died at age 68 on May 14, 1987, in New York City.


Let’s Stay Young Forever



The Famous Scene from Salome



Fred Astaire and Rita Hayworth in “You’ll Never Get Rich”