Sybil Bruncheon's "Dateline Hollywood!... MEOW!

DATELINE Hollywood!!...... The producers of the new James Bond film SPECTRE (2015) have just revealed that the great Angela Lansbury has made a cameo in it as "Poosy Galore"...still sexy, curvaceous...and..um... frisky!... Co-star Daniel Craig acknowledged at a press conference that Lansbury "Sure is a great kisser!...once you get past the whiskers!.....and the yowling..."

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A New Sybil's "WHO'Z DAT?"… WALTER HUSTON (April 5, 1883 – April 7, 1950)

Darlings! Mummy has made a decision! After reading dozens of posts and having hundreds of conversations with well-meaning folks who just don't know about the great CHARACTER actors who gave films the depth and genius that surrounded and supported the so-called "stars", I am going to post a regular, special entry called "SYBIL'S WHO'Z DAT?"....there'll be photos and a mini-bio, and the next time you see one of those familiar, fabulous faces that you just "can't quite place".......well, maybe these posts will help. Some of these actors worked more, had longer and broader careers, and ended up happier, more loved, and even wealthier than the "stars" that the public worships. (I think there may be a metaphor in that! What do you think???). And speaking of “character” actors, Mummy is going to introduce everyone to the concept of a “character LEAD”!! These actors may not have been lyrically handsome or beautiful, but they often played the leading roles in the most interesting and classic films out of Hollywood. Technically, Bette Davis was one!... almost from the very start of her career. And by her OWN choice! Spencer Tracy was another. Well, my next guest here is not only a classic example, but his range of both comedy and drama, heroes and villains, insure him a seat at the Olympus of character leads! And he started one of the great Hollywood dynasties as well! Walter Huston! (April 5, 1883 – April 7, 1950)

You’ve seen him everywhere, but he’s so chameleon that many folks don’t realize it’s actually HIM in some of the great classic pictures. Born in Toronto, Canada into a farming family and originally trained as an engineer, Huston turned to his other passion acting in 1902, appearing in Vaudeville and stage plays. In 1904, he married Rhea Gore (1882-1938) and gave up acting to work as a manager of electric power stations in Nevada and Missouri. By 1909, his marriage floundering, he began appearing in vaudeville with an older actress called Bayonne Whipple (1865 - 1937) (born Mina Rose). They were billed as "Whipple and Huston" and in 1915 they married. Vaudeville was their livelihood into the 1920s. In 1924 he starred in the premiere production of Eugene O’Neill’s DESIRE UNDER THE ELMS at the Provincetown Playhouse Theatre in Greenwich Village, which then moved to Broadway. To the end of his life, O'Neill (the only American playwright to win the Nobel Prize for Literature) maintained that Huston’s performance was the greatest by any actor in any of his works. For the next few years, Huston appeared on Broadway and then moved to Hollywood as the “talkies” first began to appear. He immediately began starring opposite some of the great film actors of the early 30’s; Gary Cooper in THE VIRGINIAN (1929), Jean Harlow in BEAST OF THE CITY (1932), and Joan Crawford in RAIN (1932). His range ran from heroic icons like the title role in ABRAHAM LINCOLN (1930) to corrupt judges in NIGHT COURT (1932).

Huston received the first of his four Academy Award nominations for the eponymous DODSWORTH (1936), the role he had originated on Broadway in 1934. Huston continued to return to the stage over the years, alternating work between New York and Hollywood. He scored on of his greatest stage successes in KNICKERBOCKER HOLIDAY (1944) as Peter Stuyvesant singing the immortal Kurt Weill/Maxwell Anderson classic “September Song”. Huston once said, “I was certainly a better actor after my years in Hollywood. I had learned to be natural - never to exaggerate. I found I could act on the stage in just the same way as I had acted in a studio: using my ordinary voice, eliminating gestures, keeping everything extremely simple.”. Huston received his second Best Actor nomination playing Mr. Scratch in the film adaptation of Stephen Vincent Benet’s THE DEVIL AND DANIEL WEBSTER (1941) and his third Oscar nod (for Best Supporting Actor) playing the father of George M. Cohan’s (James Cagney) in YANKEE DOODLE DANDY (1942) the following year. Just before playing Lucifer, he had made a brief cameo appearance as the dying sea captain (uncredited) who delivers THE MALTESE FALCON (1941) to the office of Sam Spade (Humphrey Bogart). That film represented the directorial debut of his son John Huston, who had established himself in Hollywood as a screenwriter in the 1930s. John Huston, as a practical joke, had his father enter the scene and die over 10 different takes.

Walter would go on to win an Oscar for Best Supporting Actor in 1948 for his role as the old miner in his writer-director son John' s THE TREASURE OF THE SIERRA MADRE (1948), co-starring with Bogart. Accepting his Academy Award, the elder Huston said, "Many years ago.... Many, MANY years ago, I brought up a boy, and I said to him, 'Son, if you ever become a writer, try to write a good part for your old man sometime.' Well, by cracky, that's what he did!". Walter Huston died the following year in Beverly Hills from an aortic aneurysm, two days after his 67th birthday. The legacy he leaves is not only his own beautifully crafted work, but also the Huston dynasty; his brilliant actor/director son John, and grandchildren Angelica, Danny, and Tony.

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Sybil Bruncheon's WHO'Z DAT?... Happy Birthday to Marni Nixon (February 22, 1930 – July 24, 2016)...

Born Margaret Nixon McEathron, and known professionally as Marni Nixon. She was an American soprano and ghost singer for featured actresses in musical films. She was the singing voice of many leading actresses and stars on the soundtracks of several musicals, including Deborah Kerr in THE KING AND I, Natalie Wood in WEST SIDE STORY, and Audrey Hepburn in MY FAIR LADY, although her roles were concealed from audiences when the films were released. Several of the songs she dubbed appeared on AFI's 100 Years...100 Songs list.

Besides her voice work in films, Nixon's career included roles of her own in film, television, opera and musicals on Broadway and elsewhere throughout the United States, performances in concerts with major symphony orchestras, and recordings.

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Sybil Bruncheon's HOLLYWOOD HULLA-BALLOO!... Coming soon!... a BETTY BOOP movie!!

Yes, folks and fans of the irrepressible Boop-Boop-Be-Doop Girl, a film devoted totally to Betty is in the works at the studios!... the problem is which studio will release theirs first!... and WHAT will it be about? Some of the proposals are listed below;

1) MGM is proposing a lavish blockbusting musical where Betty, a sweet, young, misunderstood girl from Poka-Ma-Hola, Iowa, is under attack by Shawnee Indians in her shabby but immaculate farmhouse when a tornado carries her off to a land of midgets, witches, and yodeling giraffes. Dancing vegetables and an overly friendly banana add mischief and merriment... followed by an uplifting message of redemption and family values as the music swells at the final fadeout. (Possible casting choices include Burt Lahr as Koko the Clown, and Linda Hunt as a "little person".)

2) Warner is finished with a script where Betty, caught behind enemy lines, smuggles Jewish, Bulgarian, and carny-show orphans out of a vaudeville academy to safety somewhere in the USA, possibly Poka-Ma-Hola, Nebraska. Disguising them all as merry midgets in her own touring musical review, she happens to run into her former great-love-that-got-away who is now the resentful-but-successful impresario of a dinner theatre in Bundt-kaka, Hungary. Their romance is swiftly rekindled, and he moves Heaven and Earth to get Betty and 316 orphans out of the country disguised as a giant millipede during a county fair 4H Club jamboree. Mischief, merriment, and machine gun fire ensue... followed by an uplifting message of redemption and family values as the music swells at the final fadeout. (Possible casting choices include the Mormon Tabernacle choir as the orphans.)

3) Universal Pictures is about to start filming a terrifying horror film where Betty Boop is transformed through exposure to atomic radiation, sound-waves from a distant planet, and defective Valentine's chocolates into a snarling, drooling, Medusa-creature!!... right in front of the Girl Scout troop she den-mothers for in a place called Poka-Ma-Hola, Indiana! Needless to say, the young girls are terrified, especially when she eats three or four of them, sashes and all. Crowds of torch-bearing villagers, mobs of pitchfork-waving farmers, and a smallish gang of circus-jugglers hurling spoiled vegetables manage to chase Betty to the haunted castle on the hill where a formerly insane mad-scientist has, through prayer and bathing in llama-milk, become a kindly old yoga-instructor. He cures Betty of her monstrousness, and the crowds of enraged citizens are won over to mercy and forgiveness... fortunately, the girls that Betty killed and ate were orphans and therefore not missed by any family members... the end is an uplifting message of redemption and family values as the music swells at the final fadeout. (Possible casting choices include John Carradine and all his sons as dancing skeletons.)

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Sybil Bruncheon's "Hollywood's Hysterical History"...

THE OLD DARK HOUSE (1932)... starring an intimate cast (by 1930s Hollywood standards!) of Boris Karloff, Melvyn Douglas, Gloria Stuart, Charles Laughton, Raymond Massey, and the always fascinating Ernest ("Gods and Monsters!") Thesiger!...and directed by James Whale… (as flamboyant as ever!)

The title just about says it all, doesn't it? A weird and weirdly funny movie from the pre-code era, that sets a black & white horror mood rather brilliantly. Merrily macabre in so many ways, I often wonder how many takes some scenes took just because the cast broke out laughing especially with the extraordinary James Whale larking about behind the camera with Thesiger flouncing around in front of it! A Must-See, if you haven’t already!! Enjoy!!...

 …oh!... and did I ever tell you about the sequel? YES!! James asked me to star in it along with the reassembled Dark House cast! It was to be called QUEERISH CASTLE (1933 or so). James was getting more and more defiant of Hollywood’s closeted attitude about LGBTQ issues, so he decided to rub the big studios’ noses in it! No longer satisfied with only calling the lead character “Horace Femm”, the residents of Queerish Castle were to be Humpmey Bogart, Beulah Bondage, Finger Rogers, Poosile Ball, Orson Smells, Spencer Lacey, Lesbie Ann Warren, Julie Man-Drews, Clit Walker, Vulvian Vance, and Peener Youstinoff. The castle, though terrifying and full of dead bodies, trap doors, and secret passages, was also to be a fabulous dance hall/speak-easy with Vaudeville acts, including drag performance-knife throwers, transvestite-trapeze artists, contortionist-fortune tellers of indeterminate gender, and dog-and-cat ventriloquism! I was going to play “The Insatiable & Inscrewtable Vaj-eena”, a gypsy fortune teller who uses tea leaves and oblong vegetables to determine the unsuspecting guests’ futures… Misfortune and Merriment ensues!... or so we hoped. The Hays Committee shut us down for “Gross Indecency!... and oblong vegetables!” JEEEESH!!!!

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Sybil Bruncheon's "My Merry Memoirs!"... Fiddling Around in Films!

GOLD DIGGERS OF 1933!!!...

Did I ever tell you about my tour through Hollywood's chorus lines when the Stock Market Crash and Depression had screwed up most careers... including mine? Well, I went from fabulous times in the silents and made the transition to the talkies with no problem... but BOOOM!! My investments evaporated, my debts exploded, and it was a choice between waitressing at the Automat or playing a neon violin with a hundred other girls in a darkened sound stage... dressed like a giant lampshade that kept getting caught in my battery pack! Look for me during the "Shadow Waltz" number... you can find m easily! I'm the one with the neon violin shorting out over and over, flickering on and off again as it zaps me in my patooties! By the end of the shoot, my hair looked like a haystack! It took me two days at Mr. Paulette's to put the marcelle back in it! JEEEEESH!!!

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Sybil Bruncheon's "I'm A Fan of Fabulous Films"...

I love thrillers!... suspense films that make you completely forget you're sitting in a movie theatre with hundreds of strangers or tucked into a blanket shivering away on your sofa in the dark! And there are so many different variations on the thriller genre; science fiction, horror, serial killers, slasher films, who-dunnits... oh, the list goes on and on! Here are a few of my favorites, and I would have added another ten or twenty, but a photo collage is only so big!…

If you’re having trouble with the titles of these great suspense films, the answers are directly below!

[Top row: PSYCHO (1960), THE USUAL SUSPECTS (1995), REAR WINDOW (1954). Middle row: CHINATOWN (1974), L.A. CONFIDENTIAL (1997), SEVEN (1995), THE MANCHURIAN CANDIDATE (1962). Bottom row: KLUTE (1971), JAWS (1975), THE SILENCE OF THE LAMBS (1991), THE SIXTH SENSE (1999)]

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Sybil Bruncheon's "WHO'Z DAT?"... Aquarius Goes Hollywood!... The ACTORS!

[Clockwise from upper left: Edgar Bergen (with Charlie McCarthy); Jimmy Durante; S.Z. Sakall; Clark Gable; Edward Arnold; Ronald Colman, Ronald Reagan, John Carradine]

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Sybil Bruncheon’s “Hollywood’s OTHER Side”… alternative plots for classic films!

Yes, this movie still does look like it’s from the gentle drama OUR VINES HAVE TENDER GRAPES (1945) starring Edward G. Robinson, Agnes Moorehead, Margaret O’Brien, and a host of lovable character actors and actresses from the MGM studio stable… It’s a bucolic, charming, and heartwarming tale told from a little girl’s point of view about a Wisconsin farm and Norwegian immigrants… sort of like I REMEMBER MAMA but with cows instead of San Francisco fog…

But did you know that the original story, still set in the 1940s and Wisconsin, was very, very different from what MGM finally settled on? The title was originally OUR VINES HAVE POISON TENDRILS, and it concerned the dangerous secret world of 3rd grade, Nazi sympathizers, barnyard sabotage, and the use of farm animals as German spies and saboteurs infiltrating the heartland, specifically in the dairy industry. Consequently, little Nell Gustafson (Margaret O’Brien in a chilling and very convincing performance) heads a herd of formerly gentle cows and sheep and turns them into brainwashed fascist-terrorists and assassins. Dressed as Little Bo Peep for a school play titled “Our Fairy-Tale Friends”, she turns Flossie, her favorite lamb, into a flame-throwing storm-trooper who incinerates a brownie and cookie stand at the 4H Jamboree. Pies, cakes, and strudels are horribly destroyed while children dressed as a corn cob, an asparagus, a ham, and other objects of American farm abundance run shrieking in terror! O’Brien’s little Nell points and laughs from the gun-turret of her panzer-tank constructed from Tinker Toys, Lincoln Logs, and an old Soap Box Derby chassis.

Later, her parents, played by Robinson and Moorhead, are devastated as Nell pledges allegiance to the New World Order during a spelling bee where the competition words include “schnitzel”, “sauerkraut”,  “dachshund”, and “gesundheit”. Needless to say, only her recruited Nazi-pals can spell the words correctly. Her former “best girlfriend” little Becky-Marie Granger is unable in the third round to correctly spell “doppelgänger”, and is dragged to the swing set and summarily shot… without a blindfold…

The film ends with Nell in charge of the local Girl Scouts chapter and being addressed as Fräulein Hiawatha during the annual Our Indian Heritage Festival… needless to say, there are no Native Americans in sight. “The End” projected on the final screen is followed by a giant question mark.

The test audiences were horrified by the implications; sales of American cheese plummeted, and several Good Humor ice cream trucks were attacked and set on fire in suburban neighborhoods. The MGM board immediately reshot and re-edited the entire film… another case of  “Hollywood’s OTHER Side”…

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A New Sybil's "WHO'Z DAT?"... HARRY DAVENPORT (January 19, 1866 – August 9, 1949)

Darlings! Mummy has made a decision! After reading dozens of posts and having hundreds of conversations with well-meaning folks who just don't know about the great CHARACTER actors who gave films the depth and genius that surrounded and supported the so-called "stars", I am going to post a regular, special entry called SYBIL'S "WHO'Z DAT??"....there'll be photos and a mini-bio, and the next time you see one of those familiar, fabulous faces that you just "can't quite place"... well, maybe these posts will help. Some of these actors worked more, had longer and broader careers, and ended up happier, more loved, and even wealthier than the "stars" that the public "worships"... I think there may be a metaphor in that! What do you think???... well, if ever, ever there was an actor who was loved, truly loved more than this one, I’ve never heard of him… it’s Harry Davenport (January 19, 1866 – August 9, 1949), everybody’s favorite “grandpa”.

Harold George Bryant Davenport, he was an American film and stage actor who worked in show business from the age of six until his death. Born just one year after the end of the Civil War in Canton, Pennsylvania, where his family lived during the holidays. He also grew up in Philadelphia. Harry came from a long line of stage actors; his father was thespian Edward Loomis Davenport, and his mother, Fanny Vining Davenport, was an English actress and a descendant of the renowned 18th-century Irish stage actor Jack Johnson. His sister was actress Fanny Davenport. In fact all nine of the Davenport children shared their parents’ love for the arts, and several, including Harry, dedicated their lives to performing. Harry himself made his stage debut at the age of five at the Chestnut Theater in Philadelphia in a play written by Richard Edwards, DAMON AND PYTHIAS. Written in a tribute dedicated to Davenport in the “Canton Sunday Telegraph” in 1949 is a notation about the fact that Harry never spent his earnings from that debut.  The story doesn’t refer to his being frugal, but rather endearing and sentimental –  “His pay was $1.95 in coins of every denomination then current and all dated 1871.  A five-dollar gold piece was added as a ‘bonus.'” Davenport kept the old coins in a safe deposit box and often said that a million dollars couldn’t make him get rid of them. And it remained so even during the leanest of times.  

By his teen years Harry Davenport was a veteran stage actor playing Shakespearian stock companies. Working regionally for years, Davenport made his Broadway debut in THE VOYAGE OF SUZETTE (1894) at the age of 28 and appeared there in numerous plays for decades. While still working exclusively on the stage, Davenport also co-founded the Actor’s Equity Association (then called “The White Rats”) with stage legend, Eddie Foy. The union was formed to address theater owners’ exploitation of actors.  Within the first year “The White Rats” had an enthusiastic membership who would cause a close-out of theaters in protest.  It was that difficult situation (for the most part) that prompted Harry to join Vitagraph Studios in NYC at the age of 47, debuting in the 1913 silent short film KENTON'S HEIR, followed the next year by Sidney Drew’s, TOO MANY HUSBANDS, and FOGG'S MILLIONS, and a series of film shorts co-starring another veteran of the stage, Rose Tapley. These included eighteen comedy shorts that made up what is referred to as the “Jarr Family” series.  In it, Davenport played Mr. Jarr, the patriarch of a middle-class family whose misadventures the series revolved around. Aside from playing the head of the Jarr family, Harry was also given directing duties in the stories, which were based on newspaper dailies written by humorist, Roy McCardell starting in 1907. All eighteen of the Jarr family productions at Vitagraph were produced and released in 1915.

In addition, he also directed some silent features and many shorts between 1915 and 1917. Davenport continued to work in film steadily throughout the 1910s, but returned to the stage full-time for the rest of the 1920s after a small, uncredited part in Fred Newmeyer’s, AMONG THOSE PRESENT in 1921. Full-time that is if stage work was available.  Just like many other Americans at the time, Harry and his second wife Phyllis Rankin (a successful actor in her own right) were living through tough financial times.  When not on the stage the couple would make ends meet by teaching acting and theater arts on the side and/or by picking wild strawberries which Phyllis made into preserves. They sold the preserves in New York and were successful enough at it to be able to “hire” local boys to help pick the strawberries. The boys’ pay was the promise of a bicycle to the best picker – a promise that was always kept. 

Harry Davenport made a few films in the early 1930s, but it wasn’t until Phyllis’ untimely death in 1934 that his film career took off after he decided to travel to California to give Hollywood an earnest effort.  Driving cross-country in his jalopy, Harry took his time, stopping in different cities along the way to act in a play or two to earn extra money. Could he ever have imagined that a brand-new career awaited him playing grandfathers, judges, doctors, and ministers. He came to Hollywood at 69 years of age during the height of the Great Depression and became one of the most beloved, admired and prolific actors in film history and one of the best-known and busiest "old men" in Hollywood films during the 1930s and 1940s. 

Settling comfortably in a life in Hollywood, Harry Davenport took on as many movie roles as he could handle. He had a gift for both comedy and drama and specialized in playing earnest, authoritative, wise, and sometimes wise-cracking characters, most often men who others turned to for guidance. He appeared in only one scene for a few minutes as a wise and wryly observant judge in Frank Capra’s YOU CAN’T TAKE IT WITH YOU (1938), but his performance is unforgettable right to the final shot of him smiling and shaking his head at the pandemonium in his courtroom!

Harry Davenport played Dr. Meade in GONE WITH THE WIND (1939), a role that was both comical and poignant and extremely important to the central story as it unfolded. He completely commands the screen opposite Vivien Leigh, Clark Gable, and Olivia de Havilland, During his “twilight” years, when most others would be settling down into retirement, Harry Davenport worked continuously. To put it in perspective, he made thirteen films in what is considered by many to be the greatest year in film, 1939. Thirteen!! Aside from GONE WITH THE WIND, these included John Cromwell’s, MADE FOR EACH OTHER (as Dr. Healy), Irving Cummings’, THE STORY OF ALEXANDER GRAHAM BELL (as Judge Rider), William Dieterle’s, JUAREZ starring Paul Muni and Bette Davis, and Gus Meins’, MONEY TO BURN (as Grandpa). And from a productive standpoint that year was only so-so for Harry. He’d appeared in nineteen films in 1937!! 

Some of his other film roles are as the aged King Louis XI of France in THE HUNCHBACK OF NOTRE DAME (1939) with film greats Charles Laughton, Thomas Mitchell, Edmond O’Brien, George Zucco, Maureen O'Hara, and Cedric Hardwicke. He played the lone resident in a ghost town in THE BRIDE CAME C.O.D. (1942), filmed on location in Death Valley, He also had supporting roles in Alfred Hitchcock’s thriller FOREIGN CORRESPONDENT (1940), William A. Wellman’s western THE OX-BOW INCIDENT (1943) and in KINGS ROW (1943) with Ronald Reagan. Davenport also played the iconic grandfather of Judy Garland in Vincente Minnelli's classic MEET ME IN ST. LOUIS (1944) and the great-uncle of Myrna Loy and Shirley Temple in THE BACHELOR AND THE BOBBY-SOXER (1947).

A lesser film Harry Davenport appeared in, but one we have to mention is the fifth entry in The Thin Man series, Richard Thorpe’s, THE THIN MAN GOES HOME (1945). Harry Davenport plays Dr. Charles, the father of one of the most popular detectives in filmdom, Nick Charles of Nick and Nora fame. A perfect choice!  This particular story shows Nick and Nora returning to Nick’s parents’ house for vacation.  Nick’s father, Dr. Charles, always dreamed of his son becoming a doctor as well and collaborating with him on a project for a new hospital.  Not familiar with his son’s natural talents for investigation, the Doctor views Nick as little more than a beat cop. Meanwhile, Nick longs for his father’s approval so Nora sets out to involve Nick in a murder mystery in his hometown so the old Doctor can be duly impressed. In the end the Doctor is quite impressed with the son’s skills and when he tells the younger Charles, Nick’s vest buttons bust with pride (literally). The super-talented William Powell and Myrna Loy are joined not only by Harry Davenport, but also by the great, Lucille Watson.

Harry Davenport continued to appear in films up until his sudden death of a heart attack on August 9, 1949 at age eighty-three… one hour after he asked his agent Walter Herzbrun about a new film role! His last film was Frank Capra’s musical-comedy, RIDING HIGH (1950), which was released the year after his death. Bette Davis once called Davenport "without a doubt, the greatest character actor of all time.” Bette Davis!... can you imagine?!

Through his marriage to Phyllis, he was the brother-in-law of Lionel Barrymore who was married at the time to Phyllis' sister Doris. His entire family, including in-laws and eventually, all five of Harry Davenport’s own children would become actors or involved in production as well, as would a couple of his grandchildren. He was buried in Kensico Cemetery, Westchester County, New York. In the obituary, a newspaper called him the "white-haired character actor" with "the longest acting career in American history". Harry Davenport appeared in over 160 films. Asked why he made so many films at his age, he replied: “I hate to see men of my age sit down as if their lives were ended and accept a dole. An old man must show that he knows his job and is no loafer. If he can do that, they can take their pension money and buy daisies with it.”

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