#samuel grossman

[spilled-strawberry-milk]

Art I did that I haven't posted

[muppetydyke]

Muppet Mainstage, December 8th, 2023

“I Have a Little Dreidel” was composed in 1927 by Samuel Goldfarb (although apparently there’s debate over the composer) with English lyrics by Samuel Grossman.

It was performed in Bear in the Big Blue House in the 1999 episode “A Beary Bear Christmas (2).” The song is sung by Shadow (puppeteered by Peter Linz, voiced by Tara Mooney) to Bear (Noel MacNeal), although it has been performed several times through the Muppet canon.

[iirulancorrino]

Best books I’ve read this year: end of year edition

I read a lot of great books this year so it’s really hard to narrow down my favorites, but here are some I read during the past six months that I most enjoyed. (You can read part one here).

Best new releases: fiction

Not a ton of novels I loved but I thought Afghan American author Jamil Jan Kochai’s short story collection The Haunting of Hajji Hotak was absolutely stellar.

Honorable mentions: Flight by Lynn Steger Strong and Small Game by Blair Braverman.

Best new releases: nonfiction

Partisans by Nicole Hemmer - argues convincingly that Trump was the natural evolution of decades of reactionary GOP politics, not an abberration.

Ducks by Kate Beaton - amazing graphic memoir by the Hark, A Vagrant writer about working in the Alberta oil sands to pay off her student debt. An incredible portrait both of what it’s like growing up working class in a small town and the sacrifices that entails and the trauma of being one of the few women in a very harsh working environment.

Strangers to Ourselves by Rachel Aviv - fascinating series of vignettes by one of my favorite New Yorker writers exploring different people’s perceptions of mental illness and how we can become trapped in our own narratives.

By Hands Now Known: Jim Crow’s Legal Executioners by Margaret A. Burnham - this was hard to stomach because of the depth of cruelty it described but is well worth reading to understand just how all-encompassing a reign of terror Jim Crow was for black Southerners.

Getting Me Cheap: How Low Wage Work Traps Women and Girls in Poverty by Amanda Freeman and Lisa Dodson - Damning Indictment of how this country treats poor people and how women and girls, particularly single mothers, bear the worst burden.

We Need to Build: Field Notes for a Diverse Democracy by Eboo Patel - I would get every left-of-center person to read this if I could.

Honorable mentions: His Name Is George Floyd by Robert Samuels and Toluse Olorunnipa and Bad Jews by Emily Tamkin.

Best fiction (non new)

I ended up reading a lot of fiction by 20th century European authors, and particularly loved The Radetzky March by Joseph Roth, The Post-Office Girl by Stefan Zweig, Everything Flows by Vassily Grossman and The Years by Annie Ernaux. Reading these felt like getting a little tour of the century, particularly of how radically modern Europe was shaped by WWI and WWII.

Boy Parts by Eliza Clark and In a Lonely Place by Dorothy Hughes were my two other favorites, and are of a pair in that they’re refreshing (despite being over 60 years old in one case) takes by woman writers on a specific style of novel and make incredible use of an unreliable narrator.

Best nonfiction (non new)

I continued to read a lot of nonfiction about abortion and most appreciated The Girls Who Went Away by Ann Fessler, which details the human cost of the “baby scoop” era and Beggars and Choosers by Rickie Solinger, which criticizes the shift from rights to choice-based language in discussions of reproductive politics.

I also really enjoyed Mark Lilla’s The Shipwrecked Mind about reactionary politics, which honestly felt like a better version of The Decadent Society and Minor Feelings: An Asian American Reckoning by Cathy Park Hong, which was written before the pandemic and felt extremely prescient about a lot of the discourse of the past few years.

Best poetry

I didn’t read a ton of poetry that really grabbed me but I enjoyed Sherry Shenoda’s The Mummy Eaters, which explores the author’s Coptic Egyptian heritage. From previous years, I enjoyed Philip Metres’ Shrapnel Maps and Richie Hofmann’s Second Empire.

[polijakefim]

TRAVIS FIMMEL AT THE CRESCENT BEVERLY HILLS IN LOS ANGELES. PHOTOS: ZOEY GROSSMAN/ART DEPARTMENT. STYLING: RITA ZEBDI/JED ROOT. GROOMING: MARISSA MACHADO/ART DEPARTMENT USING KEVIN.MURPHY.

In a lot of ways, Travis Fimmel is an easy person to talk to. He’s kind and polite, and quick to deflect the conversation back onto you: Where did you grow up? Did you like it? Would you go back permanently? When we meet in person on a rainy day in New York, he seems keen to keep an abnormal situation—an interview in which a stranger is asking you personal questions about your profession —as normal and reciprocal as possible.

The youngest of three boys, Fimmel grew up on a cattle farm in Australia, and lived in London for a while before settling in Los Angeles to become an actor. His early career had plenty of false starts, and he famously became a model in the early 2000s so he could extend his U.S. visa. Since he made his debut as Ragnar Lothbrook, the protagonist of Vikings, almost four years ago, however, things have been going very smoothly. In the past year, for example, he played a hapless hippy in Rebecca Miller’s screwball comedy Maggie’s Plan and starred in the video game adaptation Warcraft: The Beginning, which though a domestic disappointment grossed almost $400 million overseas. He just finished working with Chloë Sevigny and Steven Buscemi in Lean on Pete, the new film from 45 Years writer-director Andrew Haigh, and completed Finding Steve McQueen with Forest Whitaker and Lily Rabe. Next year, he will film Inversion opposite Samuel L. Jackson.  

But Vikings is still the project everyone is buzzing about. It has long been suggested that, at some point, Ragnar’s sons will replace him in the main narrative, and, after April’s mid-season finale, it seemed like the time had come. When we left Ragnar seven months ago, he had been decimated in battle by his brother Rollo and had walked away from his kingdom. Now, however, Ragnar is back and keen for revenge.

EMMA BROWN: With Vikings, you’ve always said that Ragnar’s sons are going to do bigger and better things than him. Is that something that you talked about with the creator from the very beginning?

TRAVIS FIMMEL: In history they went on and did better things, but yeah, I was only meant to be on the show for a year. I was meant to die that last episode that first year, but I didn’t; I ended up being on it a bit longer. There are great young actors playing my sons. A lot of shows get very repetitive, but I think it’s great that the young kids are coming in. It just gives new life to the show—some cool characters for the audience to follow. I hope they really enjoy this season. The kids are great. I’m excited for the audience to see these young people doing amazing things.

BROWN: Murdering and pillaging.

FIMMEL: Yes. Plundering and making love to strangers.

BROWN: I hear you’ve got to watch out for Ivar the Boneless.

FIMMEL: Yeah, that’s a great character—a great character in the history. All of them go on to do some very interesting stuff, but Ivar is a very historical character, and it’s certainly set up to be a great role and a great young actor plays it. I think the audience will love it.

BROWN: Will you miss Ragnar when you stop playing him?

FIMMEL: No. I’ll miss the crew and the Irish. There were a lot of laughs.

BROWN: Will you give up your place in Ireland?

FIMMEL: No, I stay in a little cabin. I stay whenever I want. I stay on a beautiful little lake. A great Irish family. Fishing all the time. It’s one of the most beautiful countries, and the nicest people I’ve ever met.

BROWN: How did you meet the family?

FIMMEL: We shot there. I can even take a boat some days to work to see the other side of the lake. We shot a lot of stuff on that lake. We had a camp there the first year—a Viking camp right on their place.

BROWN: You’ve said in the past that most of the crew already knew each other when they started working on the show.  

FIMMEL: It’s just a small industry over there. A lot of them worked on that show The Tudors. A lot of them worked on Braveheart. They’re a great crew. We couldn’t have shot the show anywhere else.

BROWN: Is that why you want to work with Mel Gibson? Did they tell you stories about Braveheart?

FIMMEL: [laughs] No, no, I’ve always loved Mel Gibson. I think he’s awesome. I love the humor that he brings to everything. And he’s an Aussie. I would love to work with him.

BROWN: Do you have Aussie pride, or is it just Mel Gibson?

FIMMEL: I’ve got Aussie country pride for sure. I just like where I grew up. I think you’ve got lots in common with the people who grew up the same as you.

BROWN: When you were growing up, did you think you were going to be a farmer?

FIMMEL: Yeah, I still do.

BROWN: Do your parents still have their farm?

FIMMEL: They just sold it. It’s a bad week for me. They move out on the eighth of December. I don’t know what I’m going to do now when I go back. I’ll get a tent or something. Stay at my mate’s place. All of my mates have got farms there still.

BROWN: Were your parents disappointed that none of their children wanted to take over the farm?

FIMMEL: My grandparents were always farmers. My granddad is dead. They started with a really little farm, and then my uncle and my dad, they kept expanding and expanding and getting more farms. My grandma worked there until she was 85. She’s 91 now. She was milking at 85 before my granddad died, and then she couldn’t get out there anymore. My granddad had Parkinson’s, so he couldn’t change gears [while driving], so my grandma changed gears in the car. He couldn’t see very well, so my grandma would be the eyes. My grandma never got a license. She can drive, but she never got a license. They used to drive about a half hour every morning to the farm. They did retire and they got a place in town and then they unretired, just started driving out every morning at 5 o’clock or whatever.

BROWN: When you were little, were you good about doing your farm chores?

FIMMEL: Yeah, we always would milk before and after school. I liked it, though. That’s the type of work that I like. I didn’t like it on Saturdays when you had to go home and milk after football, but I love the country. I’ll get a farm over there one day.

BROWN: What will you have on your farm? Will it be a dairy farm?

FIMMEL: No, just beef cattle. Dairy sucks.

BROWN: When did you start riding?

FIMMEL: We had a little pony.

BROWN: A fat Shetland?

FIMMEL: No. [laughs] For some reason I remember a Shetland, though. I think somebody left a Shetland at our place, or maybe it was when we were real little. I remember when I was seven or eight or something we had a little white pony. And my dad always had a horse. But we did most of our stuff on the motorbikes, because it was all very flat where we’re from. I got a motorbike at three; we’ve still got it. It was an R50. Hopefully my little nephews will play on it.

BROWN: How come you haven’t quit acting yet?

FIMMEL: I haven’t made enough money to buy a farm. I want a big farm. Everything is expensive in Australia. I got a long way to go, unfortunately. I had a two-year plan that went to a four-year plan that went to a six-year plan. I’ve been trying to do this for 16 years or something now. Plans never really turn out. I’ll get a certain amount of money then I’ll go.

BROWN: When did you realize that acting was something you could do for a living?

FIMMEL: I don’t know, once I got a job I guess. There’s a much better chance of making money doing this for a while than farming. I don’t know why I’m doing it. I still have no idea why I’m doing it.

BROWN: Do people ever get angry with you for saying that?

FIMMEL: I don’t care. Why would people get angry at me? Do they think we’re curing cancer? I think people take themselves too seriously if they get offended by it; it’s just a job. I’m not knocking doctors. There’s some great stuff about acting and all that. It just doesn’t affect me.

BROWN: Did you ever go through a dry spell in terms of acting?

FIMMEL: Yeah, my first 12 years. [laughs] I think that happens to every actor.

BROWN: How did you get your first acting job?

FIMMEL: Just auditioning. I was in class for a couple of years before I had even gone out for an audition. When I decided to stay in L.A., it was to act. Then I couldn’t stay here because of the visa, and so I had to do the modeling stuff. [laughs]

BROWN: You didn’t want to do Home and Away or any of the Australian soaps?

FIMMEL: I didn’t want anybody to know that I was trying to be an actor at home. I wanted to do it over here so nobody knew. They didn’t know until I got a job—a TV series for the WB.  

BROWN: Whom have you most enjoyed working with as an actor? You’ve worked some interesting directors like Rebecca Miller.

FIMMEL: I love Rebecca. I worked with a guy, Mark Steven Johnson, that I really loved just recently. I worked with Andrew Haigh; he’s an English guy. He was fantastic. I worked with him earlier this year.

BROWN: What did you like about him?

FIMMEL: Just a nice fellow and a gentleman. No ego.

BROWN: Have you worked with people with big egos?

FIMMEL: Many, many times.

BROWN: Do you have general faith in humanity?

FIMMEL: Yeah, of course. For sure.

BROWN: What qualities do you look for in a friend?

FIMMEL: For a fellow, just a good bloke I guess. Just nice people. Humor.

BROWN: Is your first impression generally correct, or do you ever change your mind about people?

FIMMEL: A bit of both, I guess. People have such a distinctive look to them these days. Whatever image they’re doing, a lot of the time it sums up their character a bit. There are not many individual people anymore—they dress the same as their friends. It’s a bit weird; everybody is trying to be different, but then they’re exactly the same as whatever mob they hang out with.

BROWN: Do you think individualism is important?

FIMMEL: Yeah, of course—not worrying about what other people are wearing and any of that stuff.

BROWN: Did you ever worry about that stuff—what people thought of you—when you were a teenager?

FIMMEL: I remember putting gel in my hair—I had the spike and the rat’s tail. I got a flat top for a while. That was between 12 and 16.

BROWN: Have you ever lied to get a job?

FIMMEL: I think every job you have to lie to get. You always say how wonderful it all is, that it’s an amazing script—”I love you, you’re such a great director.” I think every actor does that.

BROWN: What about, “Of course I can do a perfect Irish accent,” or, “I’m a great guitar player.”

FIMMEL: No, I’ve never done that ever. You’d get found out so quick. Who are you people trying to kid?

BROWN: Have you ever had to really fight for a job?

FIMMEL: Yeah. Most jobs you have to fight for. For my first job, I auditioned like 13 times. You go back in, you’re writing letters. It happens all the time. It’s not a very easy industry to be a part of.

BROWN: If your older brothers both work in the mines in Western Australia, and you were a Calvin Klein model, do they ever make Zoolander jokes?

FIMMEL: No, they know me too well. [laughs] They know I was just trying to get a visa, you know? It got me a visa for three years. They think it’s funny.

VIKINGS AIRS WEDNESDAY NIGHTS ON THE HISTORY CHANNEL.  

[dailyanarchistposts]

Footnotes, 201-213

[201] Ibid., 265.

[202] Ibid., 197.

[203] Stephen D. O’Leary, quoted in James A. Morone, Hellfire Nation: The Politics of Sin in American Society (New Haven, CT: Yale University Press, 2004), 108.

[204] Tim LaHaye and Jerry B. Jenkins, Glorious Appearing: The End of Days, 286.

[205] Ibid., 273.

[206] Katherine Yurica, “Tim LaHaye, the Richest Divinator in the World,” The Yurica Report, www.yuricareport.com.

[207] Ibid.

[208] See Richard Hofstadter, “The Paranoid Style in American Politics,” Harper’s, November 1964, 77–86.

[209] Cited in Davidson Loehr, America, Fascism and God, 81–82.

[210] James Luther Adams, The Essential James Luther Adams: Selected Essays and Addresses, ed. George Kimmich Beach (Boston: Skinner House, 1998), 25–26.

[211] Quoted by Michelle Goldberg, Kingdom Coming, 187.

[212] Samuel Clemens, The Adventures of Huckleberry Finn (New York: Charles L. Webster, 1885), 270–272.

[213] Vasily Grossman, Life and Fate, trans. Robert Chandler (New York: Harper and Row, 1985), 410.

[ultraheydudemestuff]

Grossman Paper Box Company

1729 Superior Ave.

Cleveland, OH           

The Grossman Paper Box Company is located at 1729 Superior Avenue in Cleveland, Ohio, and is listed on the National Register of Historic Places. Samuel Frank Grossman, Sr. was born in Hungary on October 27, 1861, and immigrated to this country with his parents, Marcus and Anna, in 1863. Marcus started out as a street peddler after arriving in this country and then accumulated enough capital to open a novelty store. The Grossman Paper Box Co. started in the back of the novelty store as the Novelty Paper Box Co.  In 1880, father and son started in the paper box manufacturing business, working for the Novelty Paper Box Company. In 1882, along with 4 other men, Marcus filed the incorporation papers for the B’nai Jeshurun temple in Cleveland, Ohio. Upon Marcus’s death in 1892, Samuel assumed control of the company and grew the company until it occupied a large building at 1729-1745 Superior Street.

     Marcus and Anna Solomonson Grossman had five children: Rosa, wife of Louis Glick; Emma, wife of Benjamin Wiesenberger; Malvinia, wife of Henry Bauman, Samuel F., Jr., Louis Joel, and Nathan. The 1900 census described Samuel as a “capitalist”, which seems to be the term used to describe wealthy businessmen in those days. Louis Glick became the vice president and treasurer of the Grossman Paper Box Co. in 1905.  In January 1906, the paper box business was incorporated as the Grossman Paper Box Company by Samuel Grossman of Cleveland, Ohio, and his sons Samuel F. Grossman Jr. and M. L. Grossman, of Miami, FL.   Samuel F., Sr., died in Miami in 1934.  The building was added to the National Register of Historic Places on August 15, 2016.  In 2017, the state of Ohio awarded funding of more than $1 million to help create apartments at the former Grossman Paper Box company on Superior Avenue in Cleveland.

[vintagehillbilly]

Check out this listing I just added to my Poshmark closet: Jaw Dropper 1960's Vintage 2 Piece Dress Duster Set Size 6.

[pvlphoto]

NBC Sports (US). Photo: Pablo Vera/AFP/GettyImages

[yourfrankiethings]

The Smoke Joint, Livingston Manor, NY., 6/2/23

building – 630 Old Rte 17, Livingston Manor, NY 12758 The Smoke Joint moved to the Catskills from downtown Brooklyn.  The chef/owners Ben Grossman and Craig Samuel have won accolades for their culinary ventures.  The tiny place is on the banks of the Willowemoc River and they are open from spring to fall.  Here they offer a variety of sandwiches, barbecue by the pound, fried chicken, hot dogs, a…

[valentinedussaut]

“We're the ones sleeping. Everyone else is awake, and it's just us dreaming. I know it's going to hurt really bad. But I think that I have to wake up now.” THE MAP OF TINY PERFECT THINGS (2021)

[spilled-strawberry-milk]

Yeah hands are fun when it's not a weird pose

[jacksfilmdiary]

The Map of Tiny Perfect Things

2021

https://www.imdb.com/title/tt11080108/

[r-e-c-o-g-n-i-z-e-r]

The Map of Tiny Perfect Things (2021)

[aurorarosier]

steel & monsters fanfiction

leslie grossman & skyler samuels crackships

[beingadirector]

Wednesday June 16, 2021