We The People

We The People. Art Kane, 1961

 
 

The Constitution of the United States of America is the oldest written national constitution in use.  It was completed on September 17, 1787, with its adoption by the Constitutional Convention in Philadelphia, Pennsylvania, and was later ratified by special conventions in each state. It created a federal union of sovereign states, and a federal government to operate that union. It replaced the less defined union that had existed under the Articles of Confederation. It took effect on March 4, 1789 and has served as a model for the constitutions of numerous other nations.

The Constitutional Convention began deliberations on May 25, 1787. The delegates were generally convinced that an effective central government with a wide range of enforceable powers must replace the weaker Congress established by the Articles of Confederation. The high quality of the delegates to the convention was remarkable. As Thomas Jefferson in Paris wrote to John Adams in London, “It really is an assembly of demigods.”

On July 24, a committee of five (John Rutledge (SC), Edmund Randolph (VA), Nathaniel Gorham (MA), Oliver Ellsworth (CT), and James Wilson (PA)) was elected to draft a detailed constitution. The Convention adjourned from July 26 to August 6 to await the report of this “Committee of Detail”. Overall, the report of the committee conformed to the resolutions adopted by the Convention, adding some elements.

From August 6 to September 10, the report of the committee of detail was discussed, section-by-section, and clause-by-clause. Details were attended to, and further compromises were effected. Toward the close of these discussions, on September 8, a “Committee of Style” of five was appointed. Its final version was taken up on Monday, September 17, at the Convention’s final session. Several of the delegates were disappointed in the result, a makeshift series of unfortunate compromises. Some delegates left before the ceremony, and three others refused to sign. Of the thirty-nine signers, Benjamin Franklin summed up addressing the Convention, “There are several parts of this Constitution which I do not at present approve, but I am not sure I shall never approve them.” He would accept the Constitution, “because I expect no better and because I am not sure that it is not the best.”

 
 

Page one of the original copy of the Constitution

 
 

Annotations to the Preamble:

 
 

We the People of the United States, in Order to form a more perfect Union, establish justice, insure domestic tranquility, provide for the common defence, promote the general welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.

 
 

Although the preamble is not a source of power for any department of the Federal Government, the Supreme Court has often referred to it as evidence of the origin, scope, and purpose of the Constitution. Its origin and authority is in “We, the people of the United States”. This echoes the Declaration of Independence. “One people” dissolved their connection with another, and assumed among the powers of the earth, a sovereign nation-state. The scope of the Constitution is twofold. First, “to form a more perfect Union” than had previously existed in the “perpetual Union” of the Articles of Confederation. Second, to “secure the blessings of liberty”, which were to be enjoyed by not only the first generation, but for all who came after, “our posterity”.

This is an itemized social contract of democratic philosophy. It details how the more perfect union was to be carried out between the national government and the people. The people are to be provided (a) justice, (b) civil peace, (c) common defense, (d) those things of a general welfare that they could not provide themselves, and (e) freedom. A government of “liberty and union, now and forever”, unfolds when “We” begin and establish this Constitution.

Nymphet Found

 
 

It was amazing how many parents would write in, you know, from Montana and so on, saying: “My daughter really is Lolita!” – that sort of thing. But we looked at them all, and of course, Sue Lyon was just one of them – but the moment we saw her, we through “My God, if this girl can act” – because she had this wonderful, enigmatic, but alive quality of mystery, but was still very expressive. Everything she did, commonplace things, like handling objects or crossing a room, or just talking, were all done in a very engaging way… and, incidentally this is a quality which most great actors have, it’s a strange sort of personal unique style that goes into everything they do – like when Albert Finney sits down in a chair and drinks a bottle of beer, and, well, it’s just great and you think “God, I wish I could drink a bottle of beer like that”, or the way Marlon Brando, you know, pushes his sun-glasses on his forehead and just leaves them there instead of putting them in his pocket… and, well, they all have ways of doing everyday things that are interesting to watch. And she had this, Sue Lyon – but of course, we still didn’t know whether she could act. Then we did some scenes, and finally shot a test with James Mason, and that was it – she was great.

S.K. An Interview with Stanley Kubrick Terry Southern (July 1962. NYC)
Unpublished

 
 

Sue Lyon as photographed by Bert Stern. Look Magazine, 1962

 
 

NYMPHET FOUND

The problem of casting Vladimir Nabokov‘s Lolita provoked more of a stir in Hollywood than there would have been over an open call for dogs after the death of Rin Tin Tin. The late Errol Flynn once offered the services of his teen-age mistress, Beverly Aadland, along with his own for the part of Humbert Humbert, Lolita’s tragicomic, middle-aged lover. Director Stanley Kubrick was swamped with letters from U.S. mothers who thought their daughters just right for the part, surveyed 800 budding teen-agers before finally announcing the winner last week. Kubrick’s choice: Sue Lyon, a blonde, blue-eyed, 14-year-old junior high school girl from Davenport, Iowa, now living in Los Angeles with her widowed mother. Director Kubrick spotted Sue in a bit part on the Loretta Young Show, had her read for the part with James Mason, who will play Humbert Humbert, decided: “She is a natural actor. Also she has a beautiful figure along ballet lines.” Lolita and Sue closely resemble each other. Lolita, at 15, toward the end of the book, stands 5 ft. tall, weighs 90 Ibs.; Sue, at 14, stands 5 ft. 2 in. and weighs 102 Ibs. Sue’s picture used to appear in the J. C. Penney mail-order catalogue, for which she modeled junior dresses and bathing suits. Among her other distinctions: last year she won the Smile of the Year contest staged by the Los Angeles dental societies, and at East Hollywood’s King Junior High School she played the cello. Her principal finds her “not bizarre,” but if she is to play the role as Nabokov put it in the novel, she will have to be a “mixture … of tender dreamy childishness and a kind of eerie vulgarity.” Although he knows less about moviemaking than the average scriptwriter knows about lepidoptery (one of Nabokov’s scholarly specialties), the novelist himself wrote the movie adaptation. He had at first refused, but reconsidered after dreaming one night, while traveling in Italy, that he was reading the screenplay. Says he: “Almost immediately after this illumination, Mr. Kubrick called me again, and I agreed.” He is pleased with his own job: “The screenplay became poetry, which was my original purpose.” Inevitably, while working there, the ever-observant Nabokov kept a roving eye on Hollywood, a dreamland for which Lolita herself used to yearn. The movie colony may be hard put to know what to make of his conclusion: “It is quietest, sweetest, softest place in the world.” Time, October 10, 1960

Lolita for a Year

Sue Lyon

 
 

“Every woman wants to be Lolita for a year”

Madonna. Life Magazine, December 1986

 
 

Sue Lyon as Lolita. Photo: Bert Stern, 1960

 
 

Sticky and Sweet Tour

Entropic Universes

Hugh Syme is a Canadian Juno Award-winning graphic artist (5 wins and 18 nominations) who is best known for his artwork and cover concepts for rock and metal bands.

The most remarkable quality of his art designs are the themes he links into the album concepts: oneiric or surreal landscapes; typefaces integrated into the background of the cover art; Kafkaesque events in which absurdity is accepted with resignation or even celebrated. His artwork can be seen as a collection of entropic universes that seems to keep leading to a bigger disarray or randomness of a closed system. The standstill movement of the scenes is what causes that impression of systematic chaos. In fact, the duality of that phrase is a fitting description of the word Entropy  (from Greek ἐντροπία, evolution, transformation). So, it is precisely a measure of the number of specific ways in which a system may be arranged, often taken to be a measure of disorder. In the domain of sociology, entropy is used as a metaphor for chaos, disorder or dissipation of energy.

 
 

(1983)

Note: The album is named after Chilean poet Pablo Neruda.

 
 

(1985)

 
 

(1988)

 
 

(1990)

 
 

(1993)

 
 

(1993)

 
 

Youthanasia (1994)

 
 

(1997)

 
 

(1997)

 
 

(1997)

 
 

Arena, The Visitor (1998)

 
 

(2005)

 
 

(2006)

 
 

(2007)

 
 

(2011)

Livin’ on the Edge of Riots

Livin’ on the Edge, written by Steven Tyler, Joe Perry and Mark Hudson, was released in 1993 as the first single from the band’s commercially successful Aerosmith‘s album Get a Grip. According to the band’s autobiography Walk This Way,this single was inspired by the Los Angeles riots of 1992.

The song is one of Aerosmith’s most successful attempts at tackling social issues. It reflects on the sorry state of the world (“There’s something wrong with the world today”), religion (“We’re seeing things in a different way and God knows it ain’t his”), racism (“If you can judge a wise man by the color of his skin”), among other things. However, the lyrics in the song also suggest that the world is still worth living in (“We could tell ’em no, or we could let it go, but I would rather be a-hangin’ on”). The lyrics also contain a reference to the Yardbirds song, Mister You’re a Better Man Than I (Aerosmith had previously recorded a version of a song popularized by the Yardbirds, “Train Kept A-Rollin’“).

 
 

 
 

The music video for Livin’ on the Edge is notable for a number of things, including depicting vandalism, theft (notably grand theft auto), joyriding, airbag crashing, unprotected sex, and violence among school-aged youth, cross-dressing teachers, a naked Steven Tyler holding a zipper by his crotch with half his body painted black (to give the effect he pulled down a zipper, unzipping his body) and lead guitarist Joe Perry playing a lead guitar solo in front of an oncoming train. Directed by Marty Callner, the video was praised for its groundbreaking theatrical scenes and special effects. The video featured acting by Edward Furlong.

A Crush on Lolita

Lolita is a novel by Vladimir Nabokov, written in English and published in 1955 in Paris and 1958 in New York. It was later translated by its Russian-native author into Russian. The novel is notable for its controversial subject: the protagonist and unreliable narrator, middle-aged literature professor and hebephile Humbert Humbert, is obsessed with the 12-year-old Dolores Haze, with whom he becomes sexually involved after he becomes her stepfather. “Lolita” is his private nickname for Dolores.

In April 1947, Nabokov wrote to Edmund Wilson: “I am writing … a short novel about a man who liked little girls—and it’s going to be called The Kingdom by the Sea….” The work expanded into Lolita during the next eight years. Nabokov used the title A Kingdom by the Sea in his 1974 pseudo-autobiographical novel Look at the Harlequins! for a Lolita-like book written by the narrator who, in addition, travels with his teenage daughter Bel from motel to motel after the death of her mother; later, his fourth wife is Bel’s look-alike and shares her birthday.

Some critics have accepted Humbert’s version of events at face value. In 1959, novelist Robertson Davies excused the narrator entirely, writing that the theme of Lolita is “not the corruption of an innocent child by a cunning adult, but the exploitation of a weak adult by a corrupt child. This is no pretty theme, but it is one with which social workers, magistrates and psychiatrists are familiar.”

The novel abounds in allusions to classical and modern literature. Virtually all of them have been noted in The Annotated Lolita edited and annotated by Alfred Appel, Jr. Many are references to Humbert’s own favourite poet, Edgar Allan Poe.

Chapter 26 of Part One contains a parody of James Joyce‘s stream of consciousness.

Humbert Humbert’s field of expertise is French literature (one of his jobs is writing a series of educational works that compare French writers to English writers), and as such there are several references to French literature, including the authors Gustave Flaubert, Marcel Proust, François Rabelais, Charles Baudelaire, Prosper Mérimée, Remy Belleau, Honoré de Balzac, and Pierre de Ronsard.

Vladimir Nabokov was fond of Lewis Carroll and had translated Alice in Wonderland into Russian. He even called Carroll the “first Humbert Humbert”.

Lolita contains a few brief allusions in the text to the Alice books, though overall Nabokov avoided direct allusions to Carroll. In her book, Tramp: The Life of Charlie Chaplin, Joyce Milton claims that a major inspiration for the novel was Charlie Chaplin‘s relationship with his second wife, Lita Grey, whose real name was Lillita and is often misstated as Lolita. Graham Vickers in his book Chasing Lolita: How Popular Culture Corrupted Nabokov’s Little Girl All Over Again argues that the two major real-world predecessors of Humbert are Lewis Carroll and Charlie Chaplin. Although Appel’s comprehensive Annotated Lolita contains no references to Charlie Chaplin, others have picked up several oblique references to Chaplin’s life in Nabokov’s book. Bill Delaney notes that at the end Lolita and her husband move to the Alaskan town of Grey Star while Chaplin’s The Gold Rush, set in Alaska, was originally set to star Lita Grey. Lolita’s first sexual encounter was with a boy named Charlie Holmes, whom Humbert describes as “the silent…but indefatigable Charlie.” Chaplin had an artist paint Lita Grey in imitation of Joshua Reynolds‘s painting The Age of Innocence. When Humbert visits Lolita in a class at her school, he notes a print of the same painting in the classroom. Delaney’s article notes many other parallels as well.

In chapter 29 of Part Two, Humbert comments that Lolita looks “like Botticelli’s russet Venus—the same soft nose, the same blurred beauty”, referencing Sandro Botticelli‘s depiction of Venus in, perhaps, The Birth of Venus or Venus and Mars.

In chapter 35 of Part Two, Humbert’s “death sentence” on Quilty parodies the rhythm and use of anaphora in T. S. Eliot‘s poem Ash Wednesday.

Many other references to classical and Romantic literature abound, including references to Lord Byron‘s Childe Harold’s Pilgrimage and to the poetry of Laurence Sterne.

After its publication, Lolita attained a classic status, becoming one of the best-known and most controversial examples of 20th century literature. The name Lolita has entered pop culture to describe a sexually precocious girl. The novel was adapted to film by Stanley Kubrick in 1962, and again in 1997 by Adrian Lyne. It has also been adapted several times for stage and has been the subject of two operas, two ballets, and an acclaimed but failed Broadway musical.

 
 

Lolita (Stanley Kubrick, 1992)

 
 

Bert Stern worked as a photographer on Lolita and shot the publicity photographs of Sue Lyon.

 
 

The Crush (Alan Shapiro, 1993)

 
 

The plot of The Crush was based on an actual incident involving the neighbor of Shapiro.

Bert Stern’s Muses

Shirley MacLaine, 1960

 
 

Sue Lyon, 1961

 
 

Liz Taylor, 1962

 
 

Sofia Loren, 1962

 
 

Marilyn Monroe, 1962

 
 

 Natalie Wood, 1964

 
 

Marisa Berenson, circa 1965

 
 

Goldie Hawn, 1965

 
 

Barbra Streisand, 1966

 
 

Ali MacGraw (for a Vogue cover photo shoot wearing  a bright printed silk dress with gold paillete trim by Oscar de La Renta), 1970

 
 

Madonna, 1981

 
 

Drew Barrymore, 1994

S’done & S’blood

Bert Stern Photographed by Marlon Brando, 1960

Bertram Stern (New York City 3 October 1929 – 26 June 2013) was an American fashion and celebrity portrait photographer

Bride and Groom

Stephan Brecht, Bride and Groom. New York, 1970. Photo by Arthur Tress.

Stefan Brecht (1924-2009), was a poet, critic and scholar of theater, son of playwright and poet Bertolt Brecht and actress Helene Weigel.

Fleetwood & Mac

Portrait of Mick Fleetwood and John McVie. Their surnames formed the name of the band Fleetwood Mac.

Photo credit: Mark Seliger, 1992

Rush to Exit… Stage Left

Hugh Syme is notably responsible for all of Rush’s album cover art since 1975’s Caress of Steel. He is also a musician and has appeared in some Rush songs as a keyboard player and he has contributed as a musician with Ian Thomas Band and Tiles.

 
 

(1975)

 
 

The album cover for Caress of Steel was intended to be printed in a silver colour to give it a “steel” appearance. A printing error resulted in giving the album cover a copper colour. The error was not corrected on subsequent printings of the album.

 
 

(1976)

 
 

The Starman emblem (also known as the ‘Man in the Star’ logo) was adopted by Rush fans as a logo since its first appearance on the back cover of 2112. Peart described the Starman in an interview with Creem magazine:

“All (the naked man) means is the abstract man against the masses. The red star symbolizes any collectivist mentality.”

In 1983 Hugh Syme told Jeffrey Morgan that he never imagined the band would use the Starman as their main logo.

 
 

(1976)

 
 

The title of this album alludes to William Shakespeare‘s play As You Like It.

 
 

(1978)

 
 

Permanent Waves (1980)

 
 

The cover art sparked some controversy because of the appearance of the “Dewey Defeats Truman” headline on the newspaper. Because of pressure from the Chicago Tribune, cover designer Hugh Syme changed the text to “Dewei Defeats Truman”. The billboards in the distance were changed from Coca-Cola (who objected to the use of their logo) to include each band member’s name in similar type style.

The background scene comes from a photo, taken by Flip Schulke, of the Galveston Seawall in Texas during Hurricane Carla on September 11, 1961. The woman pictured in the foreground is model Paula Turnbull. The waving man in the background is Hugh Syme.

 
 

(1981)

 
 

The title is from the signature catchphrase “Exit, stage left!” of the Hanna-Barbera pink mountain lion cartoon character Snagglepuss (coincidentally, Time Warner, former owners of Rush’s later label Atlantic Records, owns the H-B properties today). The term “stage left” is a stage direction used in blocking to identify the left side of a theater from the point of view of the performer, as opposed to the point of view of the audience.

An item from each of Rush’s previous eight studio album covers can be seen on the front and back cover of this live album, though each has been modified in some way. The owl from Fly by Night flies above Apollo, the man in the suit from Hemispheres, who stands next to the woman from Permanent Waves. The puppet king from A Farewell to Kings sits atop a box stenciled with the “Rush” logo from Rush. Next to him is a painting of the Caress of Steel album cover, held by one of the movers from Moving Pictures, with another mover standing behind. Next to this is Dionysus, the nude man from Hemispheres. Behind this scene, the starman from 2112 hangs in the background, next to an “EXIT” sign. This entire foreground scene, shot in Toronto’s then-abandoned Winter Garden Theatre, is on the left side of the stage (from the point of view of the artist), thus “Exit…Stage Left”.

 
 

(1982)

 
 

(1984)

 
 

(1985)

 
 

(1987)

 
 

(1989)

 
 

(1991)

 
 

“…The essence of these songs is: if there’s a chance, you might as well take it. So what if some parts of life are a crap shoot? Get out there and shoot the crap. A random universe doesn’t have to be futile; we can change the odds, load the dice, and roll again…. For anyone who hasn’t seen Groucho Marx’s game show You Bet Your Life, I mean that no one but Groucho knows the secret word, and one guess is as good as another… Anything can happen. That is called fate.

Neil Peart

 
 

Counterparts (1993)

 
 

(1996)

 
 

Retrospective I (1997)

 
 

Retrospective II (1997)

 
 

(1998)

 
 

Vapor Trails (2002)

 
 

(2003)

 
 

(2004)

 
 

The album features eight covers of songs that were influential for the band members during the 1960s.

 
 

(2006)

 
 

(2007)

 
 

According to drummer and lyricist Neil Peart, inspiration for the title of the album was conceived after considerable research from several sources; the 2000-year-old Buddhist game called  Leela, the Game of Self Knowledge, the related children’s game Snakes and Ladders (also known as Chutes and Ladders), and Hamlet‘s quote “slings and arrows.” This information helped convince bassist Geddy Lee and guitarist Alex Lifeson to adopt the original painting of the age old game board as the cover for the new album.

 
 

Alternative cover

 
 

(2009)

 
 

(2012)

 
 

The album’s cover depicts a clock marked with alchemical symbols instead of numbers. It displays the time as 9:12 (21:12 in 24-hour time),  in reference to the band’s 2112 album and its title suite. Other symbols are incorporated into the band name and album title.

Primness and Feminine Outlook

Title page of the 1909 edition of Emma, illustrated by C. E. Brock.

 
 

“I planned the match from that hour” ~ Volume I, Chapter I

 
 

“As she was so fond of it, it should be called her cow” ~ Volume I, Chapter IV

 
 

Frequently coming to look ~ Volume I, Chapter VI

 
 

He was very sure there must be a lady in the case ~ Volume I, Chapter VIII

 
 

“You and I will have a nice basin of gruel together” ~ Volume I, Chapter XII

 
 

She left the sofa ~ Volume I, Chapter XV

 
 

“Ma’am…do you hear what Miss Woodhouse is so obliging to say about Jane’s handwriting?” ~ Volume II, Chapter I

 
 

“He thought I had much better go round by Mr. Cole’s stables” ~ Volume II, Chapter III

 
 

He stopt…to look in ~ Volume II, Chapter VI

 
 

Very busy over parish business ~ Volume II, Chapter VIII

 
 

“I have the pleasure, madam, (to Mrs. Bates,) of restoring your spectacles, healed for the present.” ~ Volume II, Chapter X

 
 

“Ah! he is off. He never can bear to be thanked” ~ Volume II, Chapter X

 
 

What was to be done? ~ Volume II, Chapter XI

 
 

“Half an hour shut up with my housekeeper” ~ Volume II, Chapter XIV

 
 

“I see very few pearls in the room except mine” ~ Volume III, Chapter II

 
 

The terror…was then their own portion ~ Volume III, Chapter III

 
 

“I shall be sure to say three dull things as soon as ever I open my mouth, shan’t I?” ~ Volume III, Chapter VII

 
 

“Jane Fairfax!–Good God! You are not serious?” ~ Volume III, Chapter X

 
 

Mr. Perry…with a disengaged hour to give her father ~ Volume III, Chapter XIII

 
 

“my dearest, most beloved Emma–tell me at once” ~ Volume III, Chapter XIII

 
 

“She absolutely refused to allow me” ~ Volume III, Chapter XIV

 
 

“He did not know what was come to his master lately” ~ Volume III, Chapter XVI

 
 

There was no longer a want of subject ~ Volume III, Chapter XVIII

 
 

Charles Edmund Brock (5 February 1870 – 28 February 1938) was a widely published English line artist and book illustrator, who signed his work C. E. Brock. He was the eldest of four artist brothers, including Henry Matthew Brock, also an illustrator. He studied art briefly under sculptor Henry Wiles.

He received his first book commission at the age of 20 in 1890. He became very successful, and illustrated books for authors such as Jonathan Swift, William Thackeray, Jane Austen, Charles Dickens, and George Eliot. Brock also contributed pieces to several magazines such as The Quiver, The Strand, and Pearsons. He used the Cambridge college libraries for his “picture research.” Brock is best known for his line work, initially working in the tradition of Hugh Thomson, but he was also a skilled colourist.

He and his brothers maintained a Cambridge studio filled with various curios, antiques, furniture, and a costume collection. They owned a large collection of Regency-era costume prints and fashion plates, and had clothes specially made as examples for certain costumes.Using these, family members would model for each other.

Brock did not publish any more work after 1910.

The approach of C.E. Brock’s work varied with the sort of story he was illustrating. Some was refined and described as “sensitive to the delicate, teacup-and-saucer primness and feminine outlook of the early Victorian novelists,” while other work was “appreciative of the healthy, boisterous, thoroughly English characters” – soldiers, rustics, and “horsey types.” Other illustrations were grotesqueries drawn to amuse children looking at or reading storybooks.

Jane Austen’s Matchmaking Heroine

Illustrations by C.E. Brock

 
 

Emma, by Jane Austen, is a novel about youthful hubris and the perils of misconstrued romance. The novel was first published in December 1815. Before she began the novel, Austen wrote, “I am going to take a heroine whom no one but myself will much like.” In the very first sentence she introduces the title character as “Emma Woodhouse, handsome, clever, and rich.” Emma, however, is also rather spoiled, headstrong, and self-satisfied; she greatly overestimates her own matchmaking abilities; she is blind to the dangers of meddling in other people’s lives; and her imagination and perceptions often lead her astray.

Emma Woodhouse is the first Austen heroine with no financial concerns, which, she declares to the naïve Miss Smith, is the reason that she has no inducement to marry. This is a great departure from Austen’s other novels, in which the quest for marriage and financial security are often important themes in the stories. Emma’s ample financial resources put her in a much more privileged position than the heroines of Austen’s earlier works, such as Sense and Sensibility and Pride and Prejudice. Jane Fairfax’s prospects, in contrast, are bleak.

 
 

(Douglas McGrath, 1996)

 
 

Douglas McGrath “fell in love” with Jane Austen‘s 1815 novel Emma, while he was an undergraduate at Princeton University. He believed the book would make a great film, but it was not until a decade later that he was given a chance to work on the idea. After receiving an Academy Award nomination in 1995 for his work on Bullets Over Broadway (Woody Allen, 1994), McGrath decided to make the most of the moment and took his script idea for a film adaptation of Emma to Miramax Films. McGrath had initially wanted to write a modern version of the novel, set on the Upper East Side of New York City. Miramax’s co-chairman, Harvey Weinstein, liked the idea of a contemporary take on the novel. McGrath was unaware that Amy Heckerling‘s Clueless was already in production, until plans for Emma were well underway.

Although in general staying close to the plot of the book, the screenplay by Douglas McGrath enlivens the banter between the staid Mr. Knightley and the vivacious Emma, making the basis of their attraction more apparent.

Austen’s original novel deals with Emma’s false sense of class superiority, for which she is eventually chastised. In an essay from Jane Austen in Hollywood, Nora Nachumi writes that, due partly to Paltrow’s star status, Emma appears less humbled by the end of this film than she does in the novel.

 
 

(Diarmuid Lawrence, 1996)

 
 

This production of Emma stars Kate Beckinsale as the titular character, and also features Samantha Morton as Harriet Smith and Mark Strong as Mr. Knightley.  Previously, Andrew Davies was the screenwriter for the successful 1995 BBC TV serial Pride and Prejudice starring Jennifer Ehle and Colin Firth. Davies offered to adapt Emma for the BBC, but it had already commissioned Sandy Welch as screenwriter.

 
 

(Amy Heckerling, 1995)

 
 

This comedy film is loosely based on Jane Austen’s 1815 novel Emma. Heckerling later described Silverstone as having “that Marilyn Monroe thing” as a “pretty, sweet blonde who, in spite of being the American ideal, people still really like.” 

The Aerosmith Chick

 
 

After seeing her in The Crush (Alan Shapiro, 1993), Marty Callner decided Alicia Silverstone would be perfect for a role in a music video he was directing for the band Aerosmith, called Cryin’; she was subsequently cast in two more videos, Amazing and Crazy. These were hugely successful for both the band and Silverstone, making her a household name (and also gaining her the nickname, “the Aerosmith chick”). After seeing Silverstone in the three videos, filmmaker Amy Heckerling decided to cast her inClueless

 
 

 
 

 
 

This music video features the first appearance of Alicia Silverstone in the band’s videos, as well as the band performing in the Central Congregational Church in Fall River, Massachusetts. The song flashes back and forth between the band and Alicia Silverstone, who plays a teen who has a falling out with her boyfriend (played by Stephen Dorff) after catching him cheating. She feigns an attempt to kiss him, but instead leans away annoying him. She then punches him and shoves him out of the car leaving him in the dust. She begins a phase of rebellion and individuality and gets a navel piercing, which has largely been credited as introducing navel piercing to mainstream culture. After having her purse stolen by another young man (played by then-unknown Josh Holloway of Lost), she chases him down and knocks him to the ground. The video then cuts to her standing on the edge of an overpass bridge, contemplating jumping…

 
 

 
 

 
 

This was the second appearance of Alicia Silverstone in the band’s videos. Paired with her was Jason London, star of Dazed and Confused(Richard Linklater, 1993), a film which was released in the same year as Get a Grip and which memorably made numerous references to Aerosmith. The characters are featured in the music video as two cyberspace kids who escape to a world of virtual reality together, both not realizing the other is also doing virtual reality. The head-mounted display in the video worn by Jason London was manufactured by Liquid Image Corporation. The founders of Liquid Image Corporation, David Collette and Tony Havelka, were contacted by the video production crew and asked to provide a head-mounted display system for the VR sequence.

 
 

 
 

 
 

It featured the third appearance of Alicia Silverstone in the band’s videos, as well as the career debut of Steven’s then-teenaged daughter Liv Tyler. The decision to cast Liv in the video for Crazy was based on the video’s creators having seen her in a Pantene commercial, with absolutely no knowledge her father was in the band. The video was very film-like and depicted the two as schoolgirls who skip class and run away, driving off in a blue Ford Mustang convertible. The two use their good looks to take advantage of a service station clerk, and needing money, enter an amateur pole-dancing competition. The video is noteworthy for its very risque and suggestive sexual scenes, some of which seem to suggest lesbianism in the characters.

Get a Grip and Draw the Line on a Milk Cow

Get a Grip (1993). Art direction: Michael Golob. Cover design: Hugh Syme. Photography: Edward Colver, William Hames. An animal rights group objected to the cover of a cow’s pierced udder, but it was confirmed by Aerosmith to have been computer-generated.

 
 

Alternative design cover

 
 

Get a Grip is the 11th studio album by American rock band Aerosmith. It was the band’s last studio album to be released by Geffen before they returned to Columbia Records. Get a Grip became Aerosmith’s best-selling studio album worldwide, achieving sales of over 20 million copies, and is tied with Pump for their second best-selling album in the United States, selling over 7 million copies as of 1995. This also made it their third consecutive album with US sales of at least five million. Two songs from the album won Grammy Awards for Best Rock Performance by a Duo or Group with Vocal, in 1993 and 1994. The album was voted Album of the Year by Metal Edge readers in the magazine’s 1993 Readers’ Choice Awards, while Livin’ on the Edge was voted Best Video.

Get a Grip featured guests including Don Henley (a founding member of The Eagles), who sang backup on Amazing, and Lenny Kravitz, who offered backup vocals and collaboration to Line Up.

Mark Coleman, for his Rolling Stone magazine review of Get a Grip, said he liked the title track and he compared the album’s introduction, titled Intro, to Steven Tyler and Joe Perry‘s collaboration with Run–D.M.C. on Walk This Way, but feels that most of the album lacks “adventure” and is too “somber”. In his interview he compared Livin’ on the Edge to a Bon Jovi song and feels that a problem with the album comes from the outside songwriters/collaborators.

Regarding songs that reflect on the band’s history with drug abuse such as Get a Grip and Amazing, Steven Tyler declared: “We were saying you can point it back to some of those old beliefs about the crossroads and signing up with the devil, that you can look at the drugs as that: It can be fun in the beginning but then it comes time to pay your debt, and if you’re not sharp enough to see that it’s taking you down, then it really will get you.”

 
 

Image from Rush’s Counterparts (1993) album design, also by Hugh Syme

 
 

Seeing is believe. Another computer-generated ilustration by Hugh Syme for an ad campaign, made almost fifteen years after Get a Grip was released.  

 
 

 
 

Milk Cow Blues is a blues song written and originally recorded by Kokomo Arnold. Elvis Presley, accompanied by Scotty Moore on guitar and Bill Black on bass, recorded a rockabilly version retitled Milk Cow Blues Boogie at Sun Records in November or December 1954.