#jerry cotten

[audiemurphy1945]

Film posters by Norman Rockwell, 1938-1966

[mythicalfein]

'𝕥𝕚𝕤 𝕥𝕙𝕖 𝕕𝕒𝕞𝕟 𝕤𝕖𝕒𝕤𝕠𝕟₊✩‧₊˚౨ৎ˚₊✩‧₊

"So, we could call it even, you could call me babe for the weekend, 'tis the damn season write this down.."

a/n: pt 1??

cw: abbyandersonxreader, nsfw!,mdni!, failed relationship, kinda wrote this quick, angsty,

I hated being back in my hometown for the holidays. A constant reminder of why I left- why I packed my bags as soon as I graduated and moved from the cold, barren nights of New York to Los Angeles. Leaving filled an insatiable need in my life that I desperately craved, to move from this depraved life I was set up in and leave. And I loved L.A, the magical nights spent grinding up against girls in nightclubs, buying them drinks and leaving in a hushed manner the next morning.

That's why Abby was so mad when I left.

Abby was my girl- my beautiful girl whom I adored with everything. I wanted her to come with me, that was the plan. We had a fight the night before I left, a big one. Regretted words were thrown, and she had stormed out of my house before I had even gotten the chance to say goodbye to her. So, perhaps moving to the city of angels was perfect for soothing my hungering need to fill the hole Abby had left with a few one night stands. But I had never found another woman like her.

After an abundatnly long and awkard dinner spent with my parents I had claimed to go on a walk to the store, but I honestly wasn't trying to walk to any particular place. With a joint settled between my two fingers, I tried my hardest to sheild it from the snow attempting to fall onto it as I attempted to light the tip. After a frustratingly difficult bit of time, it lit, and I began to stroll down the town square street. Honestly maybe growing up in New York wouldn't have been too bad if I grew up somewhere like the city, but unfortunately I was cursed with living upstate. The winters were cold- depressingly cold. The trees I walk next to are dead. And I feel my stomach sink with a pit of loneliness that I attempt to inhale away. Which is when I feel a shoulder crash into mine.

"Ah- I'm sor-" An all too familiar voice twitches next to me before pausing and taking me in. A large figure, sported in a black winter coat and matching cotten hat. The tip of her nose and her temples are red and she looks at me with confusion. "...you.. I thought you-"

"I- I'm home for break..

...Abby?"

She nodded profusely. "Yeah- it's Abby.."

The wall came crashing down, my body flew into her large arms as I felt her wrap around me. "I didn't think I would see you again.." she murmured against my shoulder as she pulled me in tighter. "I was hoping I would see you." I tell her unashamedly. I tear my head from her chest as I look up at her. "How are you? What are you doing?" Abby laughs down at me. "I mean.. I live here. I just got out of work." I tilt my head, "Where do you work?" "I own the auto body store on main street, the one my dad had?" I smile, remembering how sweet her father was. As great of a mechanic he was, he was as equally great as a man. "Oh my god, how is Jerry?" I ask. Abby lowers her head a bit. "Ah- he um.. he passed away last winter, actually." My smile drops. "Oh, I'm- I'm so sorry Abby." She shakes her head. "Don't worry about it.."

We both just stand there for a bit, looking at each other.

"Do..do you wanna come over? I'm making dinner"

"Yeah, yes, of course." I say, shaking my head and ignoring the fact I just ate dinner.

And the walk back to her apartment almost made the cold New York winter seem warm again. Like colorful christmas lights and hot cocoa.

Her living space was small but comfortable- looking enough. She had a large decorated living room with a bit of a kitchen in the corner and a door that I assumed lead to her bedroom. Heaps of blankets were draped over every couch and silly pillows and stuffed animals decorated the cushions. The second I stepped into her home I smelled a warm sensation coming from her kitchen which I soon discovered was a pot of stew she had been simmering which made me a little happy that I decided to come over during this horribly cold weather to eat some hot stew.

"That should be ready soon enough, want a drink?" Abby asks as she peels her coat from her back. "Glass of wine?"

"Yeah, that sounds good." I reply as I take a seat on her couch. "Red-" I reply too late as she sticks out a glass of red wine to me. "Haha, I remember." she saids with a grimace. "So, how's L.A? Partying hard?"

"Eh, I guess so. I'm writing for this news company-" I say before going off about my job for the next few minutes. "But, no, how's everything back here?"

"It's.. okay.." she replies in a hushed tone, looking down at her glass of wine. "Miss your smile around here. Everything's been a little bland." I nod my head slowly at her.

"Well- I've missed you." I say softly. "I wish you would've came with me."

"I wish you would have stayed."

"I wish you listened to me."

"I wish you would kiss me right now."

We both stay silent for a few moments before my lips go crashing to hers, illiciting silent moans from the back of her throat. I grab her collar, pulling her big, stupid face into mine. I pull away momentarily to whisper against her lips. "Tell me you want me."

"I want you so fucking bad."

I feel her thigh slip in between my legs as we begin to kiss deeper, her hand wrapping itself softly around my neck as I begin to grind. My heat rubbing over her definded thigh, sinking into her as I groan with pleasure. I only intensified my breathing when her teeth dug into the side of my neck, nipping my skin and smoothing the bruised area with her tounge.

My cunt still kept its motion on her thigh, grinding back and forth with more pressure than before. "-fuckfuckfuck-" I begin to pant. "It's okay baby.." She whispers against my ear.

"You've gotta come home more often.."

[folk-enjoyer]

Song of The Day

"Shake Sugaree" Elizabeth Cotten and Brenda Evans, 1960s Shake Sugaree was written sometime in the 1960s by Elizabeth Cotten's Great-Grandchildren. She explains, "Each child got a verse." The song is sung here by Brenda Evans, who was 12 years old then, and was recorded by Mike Seeger. This song could have been the inspiration for the song "Sugaree" by the Grateful Dead, but the band has denied this. Jerry Garcia was a big fan of her work and performed and the band performed some of her songs. I'm not really familiar with these people though, so I'm not sure. Brenda Evans would continue to be a musician, and I think, was a member of the band "The Undisputed Truth" for a time. And would continue to make and perform music in the 1970s.

[lesbiancolumbo]

ida.... MONTY 😭💛.... ellie!!!! jean!!!!! jo cotten!!!!! BERNARD.... and ugh some fucker named jerry i guess ✋🏼🙄

[sams-special-space]

2023 Reads!

Here's my list of everything I've read for 2023! I'll be updating it regularly as the year goes on.

I'm currently in the middle of going through my backlog of books I've read and posting reviews, which will then be linked on the list! If you see a book on the list you're interested in hearing my thoughts on, shoot me an ask or a DM and I'll respond asap.

The list is under the read more since it's pretty long! A few notes: - Bolded titles are favorites - Blue-colored titles are non-fiction

River of Teeth by Sarah Gailey

They Both Die At The End by Adam Silvera

The Underneath by Kathi Appelt

The Magic Fish by Trung Le Nguyen

The Obesity Myth by Paul Campos

This is Our Rainbow edited by Katherine Locke

Too Bright To See by Kyle Lukoff

Ellen Outside The Lines by A.J. Sass

The Insiders by Mark Oshiro

The Ship We Built by Lexie Bean

The Thread That Binds by Cedar McCloud

The True Meaning of Smekday by Adam Rex

Damsel by Elana K. Arnold

This Common Secret by Susan Wicklund

The Voting Booth by Brandy Colbert

May the Best Man Win by Z.R. Ellor

Let’s Talk About Love by Claire Kann

Different Kinds of Fruit by Kyle Lukoff

We Cast A Shadow by Maurice Carlos Ruffin

Heart of a Samurai by Margi Preus

The Glass Castle Jeannette Walls

Out In America edited by Michael Goff

The Golden Hour by Niki Smith

Every Body Shines edited by Cassandra Newbould

Ophelia and the Marvelous Boy by Karen Foxlee

The Sky Blues by Robbie Couch

The Bride was A Boy by Chii

Belle of the Ball by Mari Costa

Counting By 7s by Holly Goldberg Sloan

In The Shadow of the Throne by Kate Sheridan

Act Cool by Toby McSmith

Embrace Your Size by Hara

The Third Person by Emma Grove

Meet Cute Diary by Emery Lee

Summer of Salt by Katrina Leno

Fat Chance, Charlie Vega by Crystal Maldonado

You’re The Only One I’ve Told by Meera Shah

The Land of Stories #1: The Wishing Spell by Chris Colfer

A Boy and His Bot by Daniel H. Wilson

Alone by Megan E. Freeman

The Gentleman’s Guide to Vice and Virtue by Mackenzi Lee

That Sky Blue Feeling Vol. 1 by Okura

If I See You Again Tomorrow by Robbie Couch

What We Don’t Talk About When We Talk About Fat by Aubrey Gordon

Our Dreams at Dust Vol. 1 by Yuhki Kamatani

Our Dreams at Dust Vol. 2 by Yuhki Kamatani

Our Dreams at Dust Vol. 3 by Yuhki Kamatani

Our Dreams at Dust Vol. 4 by Yuhki Kamatani

Other Boys by Damian Alexander

Fun Home by Alison Bechdel

In Limbo by Deb JJ Lee

This One Summer by Mariko Tamaki

On A Sunbeam by Tillie Walden

Tess of the Road by Rachel Hartman

Below the Belt edited by Trystan T. Cotten

Amelia Gray is Almost Okay

Unbound by Arlene Stein

The 57 Bus by Dashka Slater

Nimona by N.D. Stevenson

Our Dining Table by Mita Ori

I Think Our Son Is Gay Vol. 1 by Okura

I Think Our Son Is Gay Vol. 2 by Okura

Are You Listening by Tillie Walden

I Think Our Son Is Gay Vol. 3 by Okura

The Talk by Darrin Bell

I Think Our Son Is Gay Vol. 4 by Okura

Wake Up Little Susie by Rickie Solinger

New Kid by Jerry Craft

Junior High by Sara & Tegan Quin, Illustrated by Tillie Walden

Fat Talk by Virginia Sole-Smith

[droitsdesfemmes]

🎶 𝗩𝗼𝗶𝘅 𝗲́𝗰𝗹𝗶𝗽𝘀𝗲́𝗲𝘀 - 𝗔̀ 𝗹𝗮 𝗿𝗲𝗻𝗰𝗼𝗻𝘁𝗿𝗲 𝗱𝗲𝘀 𝗺𝘂𝘀𝗶𝗰𝗶𝗲𝗻𝗻𝗲𝘀 𝗺𝗲́𝗰𝗼𝗻𝗻𝘂𝗲𝘀 𝗱𝗲 𝗹'𝗵𝗶𝘀𝘁𝗼𝗶𝗿𝗲 🎵

🎸𝗔𝘂𝗷𝗼𝘂𝗿𝗱’𝗵𝘂𝗶 : 𝗘𝗹𝗶𝘇𝗮𝗯𝗲𝘁𝗵 𝗖𝗼𝘁𝘁𝗲𝗻 (𝟭𝟴𝟵𝟯-𝟭𝟵𝟴𝟳)🪕

Dans l’histoire musicale américaine, Elizabeth Cotten, gauchère audacieuse, crée l’inédit avec une guitare pour droitier, les cordes non inversées, donnant naissance au « Cotten Picking ». Dès l'âge de sept ans, elle embrasse le banjo puis, peu après, une guitare nommée Stella. Son hymne intemporel « Freight Train », naît de son esprit créatif à tout juste dix ans. Sa vie, éloignée des scènes, la voit évoluer en tant que domestique, jusqu’à ce que le destin la place au sein de la demeure des Seeger. Là, son don refleurit, encouragé par l'enthousiasme de la famille pour la musique folk. C'est la résilience et la passion qui l'amènent à partager à nouveau son art en pleine maturité, capturé par Mike Seeger et diffusé par Folkways Records. Dans les années 60, sa présence scintille aux côtés de légendes telles que Mississippi John Hurt, John Lee Hooker et Muddy Waters. Sa contribution unique au folk est célébrée par des grands noms, de Jerry Garcia à Bob Dylan, marquant l’histoire de la musique. Son œuvre est couronnée en 1984 par un Grammy, célébrant une vie de création authentique. Lorsqu'elle se voit honorée, elle exprime un souhait simple, celui de partager une mélodie avec sa guitare. Une artiste, une inspiration, une âme affranchie des chaînes du conformisme.

🔗 Pour en savoir plus : https://fr.wikipedia.org/wiki/Elizabeth_Cotten

🎧 Écouter : https://youtu.be/R2DCWfBkMSI?feature=shared

📸 Photo : Elizabeth Cotten - Live !

[notforemmetophobes]

Airport ‘77 (1977)

PG - 1h 54min Genres: Action, Drama, Thriller

Art thieves hijack a 747, hit fog and crash into the ocean, trapping them and the passengers under one hundred feet of water.

Director: Jerry Jameson Writers: Arthur Hailey (novel), Michael Scheff (screenplay) Stars: Jack Lemmon, Lee Grant, Joseph Cotten

[carmenvicinanza]

Elizabeth Cotten

https://www.unadonnalgiorno.it/elizabeth-cotten/

Elizabeth Cotten è stata una geniale musicista rimasta ai margini della storia nonostante un talento indiscutibile.

Chitarrista mancina, aveva sviluppato un suo stile originale in cui suonava lo strumento sottosopra. Questa posizione le imponeva di suonare le linee di basso con le dita e la melodia con il pollice. Il suo stile, caratterizzato dal basso alternato, è diventato famoso come Cotten picking.

Ha iniziato a suonare e comporre canzoni da bambina, poi si è sposata e non ha più toccato uno strumento per molti anni. Era già sessantenne quando è stata scoperta dalla famiglia di musicisti dove lavorava come governante e ha cominciato a incidere dischi e esibirsi in pubblico.

Nata a Carrboro, nella Carolina del Nord, il 5 gennaio 1893, era l’ultima dei cinque figli e figlie di George Nevill, minatore, e Louisa Price, cuoca, in una casa in cui la musica riempiva tutte le loro giornate. Il suo primo approccio con uno strumento è stato col banjo del fratello, aveva sette anni. A nove anni venne costretta a lasciare la scuola per lavorare come domestica, con la misera paga che riceveva aiutava la famiglia e metteva i soldi da parte per comprare la sua prima chitarra.

Sebbene autodidatta e semi analfabeta, già da giovanissima suonava e componeva ballate.

Aveva 17 anni quando sposò Frank Cotten, da cui prese il cognome. Insieme ebbero una bambina, Lillie, e lei smise di suonare per dedicarsi alla famiglia e alla chiesa. Ha lasciato il marito quando la figlia si è sposata.

Lavorava in un grande magazzino, quando incontrò una bambina che si era persa e la aiutò a ritrovare sua madre, la compositrice Ruth Crawford Seeger che la assunse come governante dei suoi figli e figlie. Fu così che, vivendo a contatto con questa famiglia allargata di musicisti, riprese a suonare il suo strumento accantonato per tanto tempo e a fare registrazioni dei suoi pezzi. Nella seconda metà degli anni Cinquanta, uscì il suo album Folksongs and Instrumentals with Guitar, in cui compariva Freight Train, canzone scritta quando era ancora una bambina poi interpretata da mostri sacri della musica come Joan Baez, Bob Dylan, Jerry Garcia e tanti altri ancora.

Il pezzo venne distribuito anche nel Regno Unito dove dei musicisti tentarono di appropriarsi dei diritti e addebitarsene la paternità, ma il copyright di quella che ormai era una hit internazionale, le venne restituito grazie al sostegno dell’influente famiglia Seeger, pur rimanendo erroneamente accreditato in molte fonti.

Il primo concerto di Elisabeth Cotten si tenne allo Swarthmore College nel 1960, al fianco di Mike Seeger, da allora in poi ebbe modo di esibirsi dal vivo in storici happening come il Newport Folk Festival e lo Smithsonian Festival of American Folklife.

Nel 1967 è uscito il suo secondo disco, creato insieme ai nipoti, che prese il nome da una delle sue canzoni, Shake Sugaree.

Ha suonato in giro e pubblicato dischi fino ai suoi 80 anni.

Nel 1984 ha vinto il Grammy Award per la migliore registrazione etnica o tradizionale con l’album Elizabeth Cotten Live.

Ha lasciato la terra a 94 anni, a Syracuse, nello stato di New York, era il 29 giugno 1987.

Nel 1989 è stata inclusa fra le 75 donne afroamericane più influenti nel documentario fotografico I Dream a World.

[ulrichgebert]

Der dritte Airport (’77) schifft ziemlich ab. Gefüllt mit den unermesslichsten, kostbarsten Schätzen in der Geschichte der Gemälde- und Schaumweinproduktion, sowie mit eigener Sterneküche bestückt, versinkt das luxuriöseste Flugzeug aller Zeiten, anstatt vom unvorteilhaft beschnurrbarten, aber tapferen Kapitän von neidischen, unbedarften Kunsträubern gelenkt, ausgerechnet im Bermuda-Dreieck. Wasser dringt ein, man wähnt sich beinah’ auf der Titanic, sowie am Abgrund, aber ein Anruf von George Kennedy und die tapfere nicht-fiktive Marine wenden allzu profundes Nachdenken über die Vergänglichkeit von Ruhm, Glanz und Schein dann doch noch gerade rechtzeitig ab. 

[theoscarsproject]

Airport '77 (1977). Art thieves hijack a 747, hit fog and crash into the ocean, trapping them and the passengers under one hundred feet of water.

While I've seen plenty of movies with stellar casts be outright bad, it's pretty rare to see one as void of any sort of charm as this. Airport '77 is ultimately a paint-by-numbers disaster movie, and it wastes so many wonderful actors that it's pretty hard not to be frustrated by it, even as it navigates it's traditional beats. It's not just bad, it's boring, which is a far bigger crime to me. Still, Olivia de Havilland is a fave, so it gains a few points. 3/10.

[thejewofkansas]

The Weekly Gravy #47

Shadow of a Doubt (1943) – **** There’s an inconsistent correlation between how long we’ve known a person and how well we know them. Sometimes you know a person only a short time, but it feels like you know them awfully well. On the other hand, you may know someone your whole life, yet not know them that well at all. Shadow of a Doubt plays on this inconsistency, as Charles “Charlie” Oakley…

[dweemeister]

You must face the age of not believing Doubting everything you ever knew Until at last you start believing There's something wonderful in you

Dame Angela Lansbury, who died at her home today in Los Angeles at the age of 96, is perhaps best known today as Jessica Fletcher in the acclaimed TV series Murder, She Wrote and in the Broadway stage plays and musicals in significant parts that Hollywood never gave her. But well before that, the Irish-British transplant to America (she and her family left Britain at the height of Nazi Germany’s bombing campaign of her home nation) made her career as mostly a character actress during the Golden Age of Hollywood. She may not have been a major star billed at the top of marquees and movie posters during her time while contracted to Metro-Goldwyn-Mayer (MGM), but she would come to be a recognizable figure to audiences of multiple generations – whether she might be playing a tough saloon owner with a belter of a singing voice, a schoolteacher just making ends meet, Elvis’ mother (despite a nine-year age difference), princesses and queens, the amoral and scheming wife of a political candidate, an emotionally manipulative mother, or a teapot matriarch.

She stepped onto a movie soundstage for the first time at seventeen years of age, while making Gaslight (1944) for MGM. Because she was still technically a minor, she had to be accompanied by a social worker while working on set. Despite this, director George Cukor and her co-stars (including Ingrid Bergman) treated her as equals, all of them recognizing right away her professionality and acting ability. Perhaps producers and studio executives might not have done the same, saddling her so often with character roles, but Lansbury – by all accounts – extended that same kindness Cukor and Bergman afforded to her to so many others over the decades, leaving a legacy that goes beyond whatever personal disappointments she may have had over the more considerable roles she never got to play.

Her distinction as Hollywood royalty came later in life, as our connections of Hollywood’s Golden Age are almost all gone.

Nine of the films Angela Lansbury appeared in follow (left-right, descending):

Gaslight (1944) – directed by George Cukor; also starring Charles Boyer, Ingrid Bergman, Joseph Cotten, and Dame May Whitty

The Harvey Girls (1946) – directed by George Sidney; also starring Judy Garland, John Hodiak, Ray Bolger, Preston Foster, Virginia O’Brien, Kenny Baker, Marjorie Main, Chill Wills, Selena Royle, and Cyd Charisse

The Three Musketeers (1949) – directed by George Sidney; also starring Lana Turner, Gene Kelly, June Allyson, Van Heflin, Frank Morgan, and Vincent Price

The Court Jester (1955) – directed by Melvin Frank and Norman Panama; also starring Danny Kaye, Glynis Johns, Basil Rathbone, and Cecil Parker

The Manchurian Candidate (1962) – directed by John Frankenheimer; also starring Frank Sinatra, Laurence Harvey, and Janet Leigh

Bedknobs and Broomsticks (1971) – directed by Robert Stevenson and Ward Kimball; also starring David Tomlinson, Roddy McDowall, Sam Jaffe, John Ericson, Cindy O’Callaghan, Ian Weighill, and Roy Snart

Death on the Nile (1978) – directed by John Guillermin; also starring Peter Ustinov, Jane Birkin, Lois Chiles, Bette Davis, Mia Farrow, Jon Finch, Olivia Hussey, I.S. Johar, George Kennedy, Simon MacCorkindale, David Niven, Maggie Smith, and Jack Warden

Beauty and the Beast (1991) – directed by Gary Trousdale and Kirk Wise; also starring Paige O’Hara, Robby Benson, Richard White, Jerry Orbach, David Ogden Stiers, Rex Everhart, Jesse Corti, and Bradley Pierce

Mary Poppins Returns (2018) – directed by Rob Marshall; also starring Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Pixie Davies, Nathanael Saleh, Joel Dawson, Julie Walters, Meryl Streep, Colin Firth, David Warner, and Dick Van Dyke

[krispyweiss]

Album Review: Jerry Garcia and John Kahn - GarciaLive Volume 14

Optimists would say the recording provides an in-the-room ambiance as crowd noise becomes part of the music. Pessimists, on the other hand, would say a glorified audience tape should never merit an official release.

And where individual listeners fall on the spectrum will go a long way toward their assessment of GarciaLive Volume 14, a single-CD release that presents Jerry Garcia and John Kahn’s Jan. 27, 1986, concert at the Ritz in New York in its entirety.

It’s two sets and just 70 minutes of often-sloppy, occasionally inspired, interplay between Garcia’s acoustic guitar and Kahn’s double bass. And Kahn is the more solid player here, placing himself perfectly between Garcia’s notes and keeping things moving when the guitarist lays back or out.

Garcia is not at his best, a fact betrayed by lyrical (“Deep Elem Blues”) and musical (“Dire Wolf”) lapses scattered throughout the album. “Friend of the Devil” is messy and not well-suited to the two-man format (ditto, “Bird Song” and Bob Dylan’s “Simple Twist of Fate”), while “Oh, Babe it Ain’t No Lie” fares much better.

Ultimately, it’s the rarities - “Little Sadie,” “Spike Driver Blues” and “Goodnight Irene” - that make GarciaLive Volume 14 worthwhile. But in truthfulness, it’s essentially a bootleg recording of a mediocre performance masquerading as an official live album.

Grade card: Jerry Garcia and John Kahn - GarciaLive Volume 14 - C+

8/5/20

[brokehorrorfan]

Shadow of a Doubt, The Trouble with Harry, Saboteur, Marnie, and Family Plot will be released on 4K Ultra HD (with Blu-ray and Digital) on May 10 via Universal Pictures. They'll be available both individually and in The Alfred Hitchcock Classics Collection: Volume 2 box set.

All five films are, of course, directed by Alfred Hitchcock. Saboteur is a 1942 spy thriller written by Peter Viertel, Joan Harrison and Dorothy Parker. Robert Cummings, Priscilla Lane, and Norman Lloyd star.

Shadow of a Doubt is a 1943 psychological thriller written by Thornton Wilder, Sally Benson, and Alma Reville. Teresa Wright, Joseph Cotten, Macdonald Carey, Patricia Collinge, Henry Travers, and Wallace Ford star.

The Trouble with Harry is a 1955 dark comedy thriller written by John Michael Hayes, based on the 1950 novel by Jack Trevor Story. Edmund Gwenn, John Forsythe, Mildred Natwick, Jerry Mathers and Shirley MacLaine star.

Marnie is a 1964 psychological thriller written by Jay Presson Allen, based on the 1961 novel by Winston Graham. Tippi Hedren, Sean Connery, Diane Baker, and Martin Gabel star.

Family Plot is a 1976 black comedy thriller written by Ernest Lehman, based on Victor Canning's 1972 novel The Rainbird Pattern. Karen Black, Bruce Dern, Barbara Harris, and William Devane star. It was Hitchcock’s final film.

The films have each been restored in 4K and presented with HDR. Special features are listed below, where you can also see the (rather lackluster) artwork for the standalone releases.

Shadow of a Doubt special features:

Beyond Doubt: The Making of Hitchcock's Favorite Film

Production Drawings by Art Director Robert Boyle

Production Photographs

Theatrical Trailer

After her charming Uncle Charlie (Joseph Cotton) comes to visit in the sleepy town of Santa Rosa, his favorite niece and namesake, "Young Charlie" (Teresa Wright), begins to suspect him of being the infamous Merry Widow murderer. As she draws closer to the truth, a dangerous game of cat-and-mouse begins, leading to a shocking climax.

The Trouble with Harry special features:

The Trouble with Harry Isn't Over

Production Photographs

Trailer

The trouble with Harry is that he is dead and, while no one really minds, everyone feels responsible. After Harry's body is discovered in the woods, several of the local residents must determine not only how and why he was killed but what to do with the body.

Saboteur special features:

Saboteur: A Closer Look

Storyboards

Alfred Hitchcock's Sketches

Production Photographs

Theatrical Trailer

After aircraft factory worker Barry Kane (Robert Cummings) witnesses his plant's firebombing by a Nazi agent, he finds himself falsely accused of sabotage and killing his best friend. To clear his name, Kane begins a relentless cross-country chase that takes him from Los Angeles to Boulder Dam and New York's Radio City Music Hall. The suspense builds to a climactic finale atop the Statue of Liberty.

Marnie special features:

The Trouble with Marnie

The Marnie Archives

Theatrical Trailer

A compulsive liar and thief, Marnie (Tippi Hedren) winds up impulsively marrying the very man (Sean Connery) she attempts to rob. When a terrible accident pushes her over the edge, her husband struggles to help her face her demons and her past as the plot races to a shattering, inescapable conclusion.

Family Plot special features:

Plotting Family Plot

Storyboards: The Chase Scene

Production Photographs

Theatrical Trailers

A phony psychic (Barbara Harris) and con man (Bruce Dern) are a conniving couple who plot to swindle an old lady out of her fortune by telling her they can find her long-lost nephew. In the process, their lives become intertwined with a larcenous jewel merchant (William Devane) and his beautiful girlfriend (Karen Black) who have an affinity for kidnapping.

Pre-order The Alfred Hitchcock Classics Collection: Volume 2.

[beenwaytoolongatsea]

2022 Rock & Roll Hall of Fame inductees: Libba Cotten | Raleigh News & Observer

https://www.newsobserver.com/living/article261094567.html

Jerry Garcia was a big fan of hers.

[kwebtv]

Character Actor

Eduard Franz (born Eduard Franz Schmidt; October 31, 1902 – February 10, 1983)  Actor of theatre, film and television.

Franz performed as well in two separate remakes of Al Jolson's 1927 cinema classic The Jazz Singer, each time playing the key role of the aged and ailing synagogue cantor upset by his son's decision to pursue a secular show-business career rather than continue the family tradition and follow in his father's religious footsteps.  Those remakes were the 1952 film version of the story starring Danny Thomas and the 1959 television version starring Jerry Lewis.

In 1956, Franz appeared on a first-season episode of Gunsmoke titled "Indian Scout", performing in the role of Amos Cartwight, a scout for the United States cavalry who knowingly leads the troopers into an ambush by a Comanche war party. That same year he guest-starred with Joan Fontaine in the episode "The De Santre Story" of the NBC anthology series The Joseph Cotten Show.  Later, In 1958, Franz was cast in the second season of Zorro, playing the role of Señor Gregorio Verdugo. He guest-starred as Jules Silberg in the 1960 episode "The Test" of CBS's anthology series The DuPont Show with June Allyson.

In 1961, Franz starred in the episode "The Duke of Texas" of western series Have Gun - Will Travel.  Also, in that same year, Franz guest-starred as Gustave Helmer in the ABC legal drama The Law and Mr. Jones with James Whitmore in the title role and Jack Mullaney as a second guest star.  About that same time, he portrayed characters on NBC's anthology series The Barbara Stanwyck Show and on the NBC western Cimarron City.   Two years later, Franz was cast as psychiatric clinic director Dr. Edward Raymer in 30 episodes of the weekly ABC medical drama Breaking Point with co-star Paul Richards.   (Wikipedia)

IMDb listing