Savoy Ballroom in Harlem 1954
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Savoy Ballroom in Harlem 1954

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Tuusulanjärvi, Finland, 1930â˛s
Ellen Page and Allison Janney at the IMDb Studio at Sundance 2016. [HQ Gallery]
CHILDREN, CHILDRENâŚ
Etruscan Menrva Goddess
Bronze, 5th century BCE
The Campanian type armor is covered by a round aegis on which is applied in relief a small protome depicting a youthful male head. Accidentally discovered in 1541 and purchased by Cosimo I de âMedici. Goddess of arts and war. The Roman goddess Minerva was probably derived from Menrva. Many of her attributes were derived from Athena, but where Athena was essentially a virgin goddess, Menrva was also a goddess who promoted marriage and childbirth.
> Marcello Piras / Pinterest

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Cracker 2009-08-30 The Mill Iowa City, IA Source 1: Soundboard > Analog cable > Attentuator > M-Audio Microtrack (24 bit 48 khz WAV) Transfer 1: M-Audio...
I have no idea if this is very good because I just started listening to it but I WAS AT THIS SHOW!! Thatâs me clapping and going âwooâ in the background probably! So itâs obviously a very important recording. Iâm more of a Camper Van Beethoven devotee but I am a Cracker fan and I totally had a great time. Now Iâm kind of pissed because I donât see any of the other concerts I was at in IC on the Internet Archive though. FOR EXAMPLE, the fifth to last Silver Jews show that ever happened was at the Picador/Gabeâs in 2008, that is super historic and thereâs nothing!! What idiot didnât record that? I was not this distressed 5 minutes ago before I realized the Internet Archive hosts mp3s of old concerts. Anyway:
Setlist: 01. Introduction 02. Yalla Yalla 03. Show Me How This Thing Works 04. Turn On, Tune In, Drop Out With Me 05. Hand Me My Inhaler 06. Movie Star 07. Teen Angst (What The World Needs Now) 08. The World Is Mine 09. 100 Flower Power Maximum 10. Time Machine 11. Friends 12. Eurotrash Girl 13. Been Around the World 14. Gimme One More Chance 15. Riverside 16. Lonesome Johnny Blues 17. Big Dipper 18. Hey Bret (Do You Know What Time It Is) 19. Pictures of Matchstick Men (Status Quo) 20. Sunrise in the Land of Milk and Honey 21. Get Off This 22. Low 23. Encore Break 24. Duty Free 25. Wild One
Poor women who loved other women had never been led to believe they might expect more rewarding or remunerative work. Though the depression rendered some of them jobless and homeless, they sometimes managed to make the best out of a bad situation. For example, statistics gathered in 1933 estimated that about 150,000 women were wandering around the country as hobos or "sisters of the road," as they were called by male hoboes. For young working-class lesbians without work, hobo life could be an adventure. It permitted them to wear pants, as they usually could not back home, and to indulge a passion for wanderlust and excitement that was permitted only to men in easier times. Life on the road also gave them a protective camouflage. They could hitch up with another woman, ostensibly for safety and company, but in reality because they were a lesbian couple, and they could see the world together. Depression historians have suggested that such working-class lesbian couples were not uncommon in the hobo population during the 1930s. The most detailed eyewitness account of lesbian hoboes during the depression is that of a woman who was herself a hobo, Box-Car Bertha, who reported in her autobiography that lesbians on the road usually traveled in small groups and had little difficulty getting rides or obtaining food. She attributes a surprising liberality to motorists, which seems somewhat doubtful considering the general attitudes toward lesbianism that there were rampant in America by this time. Bertha claims the the "majority of automobilists" who gave lesbians a ride were not only generous with them but would not think of molesting them physically or verbally: "They sensed [the women] were queer and and made very little effort to become familiar."
Odd Girls and Twilight Lovers - Lillian Faderman
Sometimes a marriage was nothing more than a front to permit a woman to function as a lesbian and not be persecuted. M.K., who was an untenured professor at Mills College during the 1930s, tells of having contacted a distant cousin, a gay man, who lived in Washington and implored him to come to California so that she could present him as her fiance before her tenure review came up. She even permitted colleagues to throw a wedding shower for her (although she never went through with the marriage, since she learned that the administration's suspicion of her homosexuality was irrevocable and she would not be given tenure). There are no statistics that reveal the incidence of front marriages between lesbians and gay men, but it is plausible to believe they were not uncommon when homosexual life as as stigmatized and difficult as it was in the 1930s.
Odd Girls and Twilight Lovers, Lillian Faderman
Lillian Faderman on Edna St. Vincent Millay
It was, in fact, bohemian chic to admit to a touch of lesbianism, as is suggested by the panache with which Edna St. Vincent is said to have answered a psychoanalyst at a Greenwich Village party who was attempting to find the cause of a headache from which she suffered.
The analyst asked, with combined pride in his knowledge of the psychosomatic effects of sexual repression and trepidation at the prospect of shocking a young woman: "I wonder if it has ever occurred to you that you might, perhaps, although you are hardly conscious of it, have an occasional impulse toward a person of your own sex?" And Millay answered with the nonchalance requisite for a true bohemian: "Oh, you mean I'm homosexual! Of course I am, and heterosexual too, but what's that got to do with my headache?" *** Edna St. Vincent Millay's experiences in the Village may be seen as a paradigm of what some women encountered if they let it be known that they considered themselves lesbian. Millay, who had been called Vincent in college, was probably the model for Lakey in Mary McCarthy's novel The Group. Like Lakey, she was the creative and independent leader of her fellow students at Vassar, and also, like Lakey all her love affairs during her college career, which did not end until she was twenty-five years old, were with other women. Her strongest "smash" in that all-female environment was with Charlotte (Charlie) Babcock, who was the model for Bianca in Millay's play The Lamp and the Bell (1921). The play depicts a self-sacrificing love between two women about whom others say, "I vow I never knew a pair of lovers/More constant than these two." Millay also had a passionate attachment to Anne Lynch during those Vassar days, and even several years later she wrote to Lynch: "Oh, if I could just get my arms around you! - And stay with you like that for hours...I love you very much, dear Anne, and I always shall." Another Vassar classmate, Isobel Simpson, Millay called her "Dearest Little Sphinx" and "[my] one true love." From a Greenwich Village she promised Isobel: "Someday I shall write a great poem to you, so great that I shall make you famous in history."
But although Millay's erotic life had been exclusively with women, once out of that all-female environment and in Greenwich Village, there was pressure on her to become at least bisexual. As a good bohemian she pretended, of course, to continue to regard homosexuality in a blase manner, as her response to the psychoanalyst who tried to cure her of a headache suggests. Yet despite her panache, Millay eventually bowed to the pressure to give up exclusive lesbianism, as many of women's college graduates must have felt in the heterosexual 1920s, when companionate marriage was seen as the "advanced" woman's higher goal.
The unpublished memoirs of Floyd Dell, who became Millay's first male lover in Greenwich Village, give some insight into how women who came to the Village as lesbians were sometimes steered toward heterosexuality in this "progressive" atmosphere. For weeks Milly had agreed to go to bed with Dell, since she was taught in the Village that free bohemian women should have no scruples against such things; but she was obviously ambivalent, insisting they remain fully clothed and refusing to have intercourse. Finally, Dell pressured her sufficiently to make her overcome her reluctance. "I know your secret," he said. "You are still a virgin. You have merely had homosexual affairs in college," devaluing such relationships as a mature sexual experience. Dell claims that Millay was astonished at his deductive powers and she admitted, "No man has ever found me out before." In her chagrin she gave into him. Dell's memoirs indicate that he was one of the early lesbian-smashers. He says he made love to her, feeling it was his "duty to rescue her." His rescue was obviously imperfect, however, since she was still having affairs with women years later when she took up with Thelma Wood, the woman who also became Djuna Barnes' lover and her model for Robin in Nightwood. Dell finally had to admit with disappointment that Millay could not be entirely rescued. Years after their relationship, he lamented in an interview, "It was impossible to understand [Millay]....I've often thought she may have been fonder of women than of men." But despite his cognizance of her feelings about women he believed he had right on his side when he proselytized for heterosexuality, and he was encouraged in this conviction by the bohemians who scoffed at the technical virginity of women whose erotic lives were exclusively with other women.
Dell even urged Millay to undergo psychoanalysis in order to "overcome" her interest in women, although she thought it analysis silly and, with a feminist awareness developed in her all-woman college environment, saw Freudian ideas as nothing but "a Teutonic attempt to lock women up in the home and restore them to cooking and baby-tending." Yet despite her various attempts to resist, she appears to have succumbed to the pressure. She married, although it was to a man who, she claimed, left her relatively free to behave as she pleased. She said of her life with her husband that they "lived like two bachelors." But to have chosen to live as as lesbian, even in the world of Greenwich Village, was too problematic for her, despite her history of love for other women.
The kind of pressure that was put on Millay to give up her love for women, or at least to make it take a secondary position to heterosexuality, was probably typical of what happened to young females even in this most bohemian environment during the 1920s, when love between women as had been so vital in earlier eras was devalued. While sex between women was acceptable and even chic in circles that were enamored with the radical or the exotic, serious love relationships between women could no longer be highly regarded since they would interfere with compantionate heterosexual relationships. Of course there were some bohemian men who saw lesbianism as part of the Village's experiment with free love  an they respected the women's choices, an there were others who were titillated by it, and still others who were homosexual also and happy enough that their female counterparts were enjoying themselves. However, many bohemian men, if they could take lesbianism seriously at all, resented not only the women's ties to each other but their general assertiveness, which in itself may have signified danger to some men.
- Odd Girls and Twilight Lovers: A History of Lesbian Life in Twentieth-Century America, Lillian Faderman
But seriously folks, I think the show wants you to think that Spencer doesnât get into Oxford (I assume????) because her purse starts leaking blood in the middle of her interview. But really itâs because her response to the Euripides/Eumenides joke was âI'm gonna have to add that to my repertoire of philosophical knock-knock jokes.â Wasnât a knock-knock joke and it had nothing to do with Greek philosophy, dumb-dumb. Sheâs a disgrace to the Hastings name.

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Alternate version of the joke: âEuripides? You pay fer dees!â
1956
I love double bearding!
Margaret Lindsay (September 19, 1910 - May 9, 1981) was an American film actress.
Lindsay had a bevy of gay âcompanionsâ for public appearances (such as Cesar Romero, Richard Deacon and even Liberace) and remained stoically true to herself throughout her whole career in movies, never marrying to appease the studio or the public, and maintaining a lively and popular hangout for the closeted lesbians of Hollywood in her and her partner Mary McCartyâs bungalow. Lindsay was a tomboy who liked to climb trees when she was a child and she was a âroller-skating fiendâ when a teenager. Rumoured to have been a long-time lover of Janet Gaynor, the two appeared together in the film âPaddy the Next Best Thingâ (1933). Famously, herself and Janet went on a wild cross-country road trip with journalists in hot pursuit shortly after Lindsay had a breakdown after appearing at the Thelma Todd murder trial. Lindsay was a good friend of Thelma Todd, and she was at a dinner given in Toddâs honour the night of Toddâs mysterious death from carbon monoxide poisoning. Margaret Lindsay died of emphysema in 1981 aged 70 in LA.

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Bette Davis in All About Eve
Buffie Johnson, Ariadne: Danger of Contemplation (Imaginary Self-Portrait), 1942