Jack Jones sings "Wives and Lovers" (by Burt Bacharach)
Back in the 1950s-60s, was this the way married life was supposed to be?
Well this song explains somewhat the tragic aspirations of Betty Draper in the TV series "MAD MEN" .
In retrospect, how sad that young wives at that time were so brainwashed. Yes, it was a double-edged sword.
The tragedy of Betty Draper was quite common in middle- and upper-middle-class culture in the U.S.
But this may also have been the fallout of a working-class problem from 60 years earlier.
After Prohibiiton and the subsequent push for feminist roles in the workplace, post-war housewives had to compete with the allure of office and factory women, which eventually led to an increase in divorce rates and, ironically, the influx of even more housewives themselves into the workplace seeking an income after losing a breadwinner.
The pendulum may have swung too far when women were marching for equal rights. That march began 70 years earlier, in the 1890s, both in Europe and in the U.S.
What women could not realize back then was that they would be cannibalizing their own uniqueness by demanding equal footing in the workplace. The grand scheme of feminism could not engineer away the natural sexual magnetism between men and women. So workplace romances sprang up and began unseating happy homes and destroying families.
Feminism began with the temperance movement. Because drunkenness of men destroyed families. So women wanted assurances, safety and other protections from falling into poverty after an abandonment. Wayward men were definitely a problem.
So this led us to Prohibition.
I'm just not sure we needed all this feminism to sober them up. Sexual abuse of boys may have been a contributing factor to their adulthood troubles.
100+ years later we need to re-examine why families still aren't working.
Families worked better when mother stayed at home with the kids and father went to work. Incidentally, some of the worst bosses I have had were women.
A sad day.
This man was simply the best performer...EVER.
I had the great fortune of seeing Aznavour perform twice. Once at Carnegie Hall (with my parents) and once at Radio City (w my wife).
I learned about Aznavour through my dad who had lived in Germany and Paris during the Korean conflict. We were driving in his car one day and this terrific song came on the radio. My dad told me about Aznavour being an Armenian Frenchman who was the "Sinatra" of Europe. I was only about 12 years old at the time. Many years later (in my 30s) my appreciation for Aznavour grew and I took my parents to see him at Carnegie Hall. It was a great family night.
MAMMA MIA! Here We Go Again (2018)
PG-13 | 1h 54min | Comedy , Musical , Romance | 20 July 2018 (USA)
DIRECTOR: Ol Parker
WRITERS: Ol Parker, Richard Curtis
CAST: Lily James, Amanda Seyfried, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Andy Garcia, Julie Walters, Cher, Christine Baranski, Meryl Streep.
SYNOPSIS: Five years after the events of Mamma Mia! (2008), Sophie (Amanda Seyfried) prepares for the grand reopening of the Hotel Bella Donna as she learns more about her now deceased mother's (Donna's) past.
REVIEW: Terrific romp with great music and performances.
The script is a bit clunky at first by gets the kinks out by the second act.
A flashback storyline follows the young Donna's (Lily James) original journey to Greece 25 years earlier and how she met her 3 suitors: Sam, Bill and Harry.
The introduction of new characters and plenty of lesser-known ABBA songs help make this 2nd visit very worthwhile.
As with any ABBA-themed project this film vacillates from nostalgia to regret, to triumph. Handling these segues is a bit contrived but If you've already bought into the ABBA agenda you won't really care. Others might hate it.
ABBA's oeuvre is so complex that it can invoke heartache and longing or inject one with invincible hope. If you don't believe me go back and watch "Muriel's Wedding" (1994) and try not to smile despite Muriel's painful life story.