Christmas – Page 3 – Brian Ferrari's Blog

The Christmas In Connecticut Delivery Woman

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“Have you ever seen Christmas In Connecticut?”

The question, which I have been asked many times over the years, always comes from a fellow gay person who then proceeds to explain why this 1945 film is a Christmas classic. Inevitably the conversation includes a mention of The Delivery Woman. “Just wait for her;” they would say.

The Delivery Woman appears 11 minutes into the film – just after we meet leading lady Barbara Stanwyck. She enters carrying a large box tied with a bow – it’s a mink coat. She has two lines – six words: “Miss Lane?” and “Same to you, Miss.” She smiles throughout her performance – she is beautiful. Stylish. She wears a hat, cape and gloves. Tasteful earrings. And she has a musical cue – a slinky clarinet riff. She seems to know things.

One friend described her as “sassy” although I think that assessment is a modern projection. She is on screen for just over 10 seconds. And then she is gone. She has other places to go. Other minks to deliver.

“Wouldn’t it be great if postal workers dressed like that?” is another comment I have heard more than once. I think she is actually a department store delivery person and not a postal worker. In any case, yes, I agree – capes and hats and leather gloves would be a welcome addition to any FedEx, UPS or Amazon Prime uniform.

We do not know the actresses name the IMDB does not list her. One day I expect to receive a blog comment that says “You uneducated fool! Everybody KNOWS it’s a young Rudy Dee / Hazel Scott / Dorothy Dandridge.” Until that time… the mystery remains. At least in my house. (Scroll down for an update!)

In The Celluloid Closet, a 1995 documentary about the history of homosexuality in Hollywood, writer Susie Bright says something along the lines of “A gay audience is so accustomed to crumbs that you will watch a whole film just to see a hint of a gay subtext.”

In Christmas In Connecticut, it’s pretty clear that Barbara Stanwyck’s sham fiancee – a disinterested interior designer – would be a gay character if 1940’s society and the movie code allowed for it. But that’s beside the point. The “accustomed to crumbs” statement can be applied to any minority in a classic Hollywood studio film : you wait for someone to show up, cross your fingers for a positive depiction, and then hold onto it when you find it.

The Smart Bitches, Trashy Books website mentions The Delivery Woman in a 2016 post dissecting the film. “PERSON OF COLOR. PERSON OF COLOR;” they scream upon her entrance. “This movie is already more inclusive than several films released this year.”

And this is why, 75 years after it’s release, I am writing about 10 seconds of this film.

I tip my stylish cap to that nameless actress. We salute you!

UPDATE: Since this was first posted in 2019, there have been several suggestions in the comments section. I am inclined to agree that it is Daisy Bufford (1913-1987), an actress with over 30 movie credits, including Cabin In The Sky and Gone With The Wind. What do you think?

She can be seen here in Son Of Ingagi (1940), which has been called the first black Sci Fi/Horror movie:

December 21st – 30 Years Later

December 21^st. I am never quite sure how to handle this day. Do I ignore it? If I acknowledge it, does it seem exploitative somehow? What level of grief is acceptable? We were the class behind them. We were their friends and co-workers, but we were not their BEST friends. We were the ones back in Syracuse. We did not go to London for that Fall semester – most of us had not seen them since the previous May. Of course, we were not family. But we did go through it. It happened to all of us. “We.” We all hung on to each other and we made our way through.

We sat a couple of rows back at the memorials. We were devastated, too, but how do you calibrate your grief? You feel what you feel. We were 19, 20 years old. And it has now been 30 years. There is still a scar on each of us somewhere. It does not matter how much you look at it or if you ignore it, talk about it or don’t talk about it. You still have it. All of us that went through it have them. Our own individual scars – each a little different. Some deeper than others. We have our reunions and little get-togethers but we do not discuss it. For the most part. There is no need to.

And I say to myself: I will address this one day. To explain to everyone else, really. All the people that have become a part of my life since then. 10 years goes by. 20 years. 25 years. One day I will address that scar. One day I will write about what it was like. What these people meant. How we found out who was and was not on the plane. The confusion. The anger. The unimaginable wave of sorrow. How we coped with it.

Ah, but then you get through the day… the week…. and you tell yourself, well… let’s just pack that away for another year. Focus on the holidays! I mean, really…. you were a few rows back. Your feelings are once-removed. What do you have to say that has not already been said so eloquently? What unique perspective do you think you are bringing to the table? Calibrate that. And then pack it away with the rest of the holiday baggage.

So I’ve cracked the door open just a bit on this 30^th anniversary of the bombing of Pan Am Flight 103. For Theo and Miriam and Nicole and Turhan and Tim. And for everyone that knew them.

103 lobby — These memorial boards hung in the lobby of Syracuse Stage, honoring the drama students that were among the 270 people killed in the Pan Am Flight 103 bombing.

“Into The Morning” Silkscreen by Prof. Gerardine Clark to honor her lost students.

A Christmas Without Miracles: The 1987 “Motown” Christmas Special

I have this pet peeve… it’s a situation that usually occurs at a party or in a bar or club. Someplace with a jukebox or a DJ where the alcohol flows freely. An overplayed 60’s soul hit like Respect or Dock Of The Bay starts to play and some booze bag sloshes over and says “OH I LOVE MOTOWN! I love Aretha and James BROWN and the Shirelles and the Ronettes and OTIS and ALL the rest of the Motown acts.”

Honey. Sit down. Let me get you a glass of water. We need to talk.

While I appreciate your enthusiasm, let’s set the record straight: Sam Cooke. Otis Redding. James Brown. The Shirelles. The Ronettes. They are NOT Motown acts. Never were. And while Aretha Franklin was FROM Motown, aka Detroit, she was never ON Motown records.

Referring to every black artist who recorded soul music in the 1960’s as a “Motown” singer is lazy, insulting and possibly a teensy bit racist. Kapeesh? With that said, perhaps I should cut people some slack. I realize that we are all very busy and don’t pay a whole lot of attention to minutiae. Besides, sometimes record labels themselves are a little guilty of causing confusion. Case in point: The 1987 Motown Merry Christmas special.

First, a little context: In 1984 the Motown 25 TV special was a blockbuster ratings success, with all the former stars of the record label coming home to celebrate Motown’s 25th Anniversary and kiss the ring of founder Berry Gordy. Stevie Wonder, Marvin Gaye, The 4 Tops, The Temptations, Martha Reeves, Mary Wells and many others made appearances. Lionel Richie reunited with the Commodores! Smokey Robinson reunited with the Miracles! Diana Ross reunited with the Supremes for a minute and half before Miss Ross allegedly pushed Mary Wilson out of her way! That last part was edited out of the broadcast…. but anyway… the real highlight of the show was the reunited Jackson 5, followed by Michael Jackson’s performance of Billie Jean, which introduced the moonwalk to the world and we were never the same again.

Fast forward three years – the Motown brand was still being milked for all it was worth, even if their current roster of artists were not exactly burning up the charts. I mean, even DeBarge had left the label by this point. But a nostalgic look back at Motown with a Christmas special seemed like a good idea, as most of the top Motown acts had released holiday LPs during the label’s heyday. In fact, The Temptations and Smokey Robinson & Miracles each released two Christmas LPs on the label. But… you do have to get the acts to come back and perform for a TV special, right?

For whatever reason (read: money) only the Temptations and Smokey Robinson are on hand for this star-studded Motown Merry Christmas, which was taped – not in Detroit – but at the Aquarius Theatre in Hollywood, California.

The show aired December 14, 1987 on NBC, hosted by Philip Michael Thomas, the guy who wasn’t Don Johnson on the hit NBC-TV show Miami Vice. Interesting spot of trivia: Thomas, notorious for his over-inflated ego, is credited with coining the acronym EGOT for an Emmy, Grammy, Oscar, and Tony winner. Thomas often crowed in interviews that he would win one of each. As of 2018, he has never been nominated for any of them.

The show opens with our humble host reading a version of “Twas The Night Before Christmas” that name-checks some Motown artists, including Stevie Wonder, who is not there.

This segues into a performance by the 1987 version of The Temptations (which means no Eddie Kendricks or David Ruffin). They are wearing nightshirts and slippers as they perform a doo wop version of White Christmas. Although the group had recorded the song as a ballad on their 1970 Christmas album, that version is scrapped in favor of the Drifters uptempo arrangement, originally released on Atlantic records in 1954. In any case, it’s a fun showcase for the deep bass voice of original member Melvin Franklin.

Next, The Pointer Sisters sing Santa Claus Is Coming To Town, a track from the very first A Very Special Christmas album, which had just been released and is now considered a classic. Their performance is spirited, but once again a reminder: The Pointer Sisters have nothing to do with Motown, although a kid imitating Michael Jackson does make an appearance.

For the comedy portion of the program, Redd Foxx arrives onstage dressed as a pimped-out Santa Claus along with Marsha Warfield of NBC’s Night Court and Lola Falana of… many a Las Vegas lounge. Redd performs a rap and the result is exactly what you would imagine a Redd Foxx rap might sound like. Then things get serious as they read a fake letter from an imaginary homeless child and Santa Foxx promises to find him on Christmas. So I guess the kid will have to fend for his imaginary self until then.

Side Note: Although Redd Foxx is best remembered today for Sanford and Son and his other sitcom work, he was also known as “The King of the Party Records” -with over 50 raunchy comedy LPs released on a dozen different record labels. None of these labels was Motown.

Ronnie Spector and Darlene Love deliver a medley of songs from the Phil Spector Christmas Album, which, of course, was not a Motown production. Darlene sings a generous portion of Christmas (Baby Please Come Home). Just the previous Christmas, she had performed the song on David Letterman’s show for the first time, launching a tradition that would continue for the next 28 years.

I forgot to mention: as this is the 1980’s, there is a large gaggle of dancers present throughout the entire show. During this segment they are dressed primarily in gold mylar, gyrating around Ronnie and Darlene as they herd from one end of the stage to the other. One of the more prominent dancers is Michael “Mykal” Perea, a staple of 80’s music videos for many artists including Michael Jackson, Cher and especially Madonna, having appeared in her videos as well as on the Virgin Tour and Live Aid performance. In the mid-80’s, I wanted to BE Michael Perea, shaking my tambourine to Dress You Up and Dancing On The Ceiling with Lionel Richie. I was sorry to learn recently that he died of AIDS complications in 1989.

Next up – another medley: Desiree Coleman, one of two artists appearing here (besides Smokey) that was actually signed to the Motown label at the time. Desiree sings Have Yourself A Merry Little Christmas. She is decked out in a tacky 80’s outfit full of sequins and linebacker shoulder pads. I mean… all the costumes in this show are hideously dated, but this one is at the top of the very flammable acrylic heap.

Philip Michael Thomas is onstage with her but thankfully does not sing. Apropos of nothing, Desiree hits a Mariah Carey dog-whistle note at the end of her segment and Thomas leads her away. I’m not a fan.

Smokey sings a portion of a forgettable ballad before Natalie Cole comes in with her soulful rendition of Donny Hathaway’s This Christmas (Side note: do yourself a favor and check out Dave Holmes dissection of Patti LaBelle’s disastrous version of this song from the 1996 National Christmas Tree lighting. Really.)

I remembered This Christmas as a highlight of the program, thinking that Smokey and Natalie had some real chemistry. Re-watching it now, I see that it’s all Natalie’s doing. SHE has chemistry. All we see is the back of Smokey’s head as she sings her way towards him. Together they segue into Give A Little Love On Christmas Day, and it sure does seem like someone’s gonna get a little love before Christmas day even gets here. Oh – Philip Michael Thomas and Desiree Coleman are still onstage too. Thankfully, Philip Michael Thomas still does not sing.

The Temptations are back with a very nice version of Silent Night, featuring the tight soulful harmonies that are their trademark. They end their performance with a declaration: “Merry Christmas from the Motown Family…” as if they are here to represent the rest of the “family” who had to go visit the in-laws and just couldn’t make it this year.

After some more Redd Foxx shenanigans, Run DMC (who were on Profile records) performs Christmas In Hollis, which was also on the A Very Special Christmas LP. Quick geography lesson: Hollis is in Queens, New York, which is about as far from Detroit, Michigan as the Aquarius Theatre in Hollywood, California.

Stephanie Mills sings the R&B ballad When You Love Someone (It’s Christmas Every Day), a song that they twice mention was written by our very own Redd Foxx. What they don’t mention is that the song was recorded by former Motown artists Gladys Knight and The Pips, who are not here.

It’s ironic that Mills appears on a Motown special for a couple of reasons: Not only was she never a Motown artist, but her greatest success was playing 13-year-old Dorothy in The Wiz on Broadway, but when Motown produced the movie adaption, 34-year-old Diana Ross was given the role.

Smokey and the Temptations are back again to sing The Christmas Song (Chestnuts Roasting On An Open Fire). This is fine. But where are the Miracles? Where are the 4 Tops? Gimme some Pips! My kingdom for a Marvelette!

Marsha Warfield reappears dressed as a glittery bag lady as we head into the closing 8+ minute medley. Carrie McDowell is introduced. She is the only caucasian on the bill and the only other artist besides Desiree and Smokey signed to Motown at the time. That said, she was dropped shortly after her debut LP tanked that same year. McDowell has the featured spot here… and this girl can SANG, that’s for sure, but…. this also means that all the other great singers behind her: Natalie Cole, Darlene Love, Pointer Sisters, etc. are given much shorter solos – some are reduced to a single line of a song. Poor Ronnie Spector has one duet line with Stephanie Mills.

Lola Falana has a very brief solo with some very odd stilted physical movements, which I always attributed to the severe multiple sclerosis flareup that plagued her at the time. But upon repeated viewing, she moves quite naturally when she steps back in line with the others. So I don’t know what that was about.

The cast sings approximately 15 seconds of every holiday song ever written. Phillip Michael Thomas is singing now but nobody gives him a mic. And then we’re done. Credits roll. Merry Christmas to all and to all a good night.

In 2000, Diana Ross attempted to launch a Supremes reunion – the first time they would have performed together since the Motown 25 special. Unfortunately, very little money was offered to Mary Wilson and Cindy Birdsong and both declined to participate. In their place were installed Lynda Lawrence and Scherrie Payne (Freda’s sister), both members of the Supremes in the 1970’s – years after Ross had left. Fans didn’t buy it and the tour fizzled out quickly. As with this program, it was just another example of the Motown name being slapped on something and fans were expected to eat it up.

Of course, if we are talking about drunk people at a party, maybe they do fall for it. But some of us are bound to stand up and say… Honey, no. We need to talk.

Sunshine and Tinsel: A Canine Christmas Tail

I wrote a story/poem back in 2006 recounting an incident with the family dog when I was 4 years old. I gave copies to my family in their Christmas stockings that year. A couple of years after that when I was hosting 60 Degrees on East Village radio, I read it as part of my Holiday episode. Now it has been posted on the GoodMenProject website for this holiday season. I hope you enjoy it!

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‘Twas morning in the Ferrari house
two days Christmas past
Life was getting back
to normal at last

Mom’s in the kitchen
brewing a cup
Dad’s in the bathroom
shaving his scruff

I crept out of bed
little 4-year-old me
To revisit the presents
that Santa brought me

My sisters, still sleeping
they hadn’t a clue
Of the calamitous doings
about to ensue…

Our dog was named Sunshine
half beagle, at most
The other half basset hound:
Dumb as a post.

This brilliant young pup
found a holiday treat:
She thought that the tinsel
was something to eat

Soon she’d get queasy
lowered eyes to the floor
Rocking forward and backward
5 minutes or more

The “extended heave warning”
gave time to react
We’d all run for newspapers
or brown paper sacks

More often than not
we would catch her in time
Sparing our rugs
of the glittery slime

We’d gone all through Christmas
playing this game
But this morning was special
not more of the same

She had eaten more tinsel
It did not agree
There she stood: heaving
right under the tree

All of our presents
were still on display
Right where we’d opened them
on Christmas Day

I entered the room
and clearly could see
Sunshine’s next targeted
barf casualty:

My sister Jen’s brand new
Fisher Price Zoo
Was about to be covered
in silvery goo

I had to think fast:
What can I do?
I can’t let her spew
on the Animal Zoo!

I got on all fours
I crawled under the tree
Grabbed her by the collar
and led her towards me

It seemed like slow motion
but safety seemed near
I began to stand up
when I thought I was clear…

But I wasn’t.

Ornaments shattering
down came the tree
On the stomach-sick dog
and pajama-clad me

Out of the living room
there arose such a clatter
My family ran in to see
what was the matter

From under the tree
they heard screaming and crying
My mother envisioned me
bleeding or dying

Quick as a flash
my dad lifted the tree
I was curled in a ball
with the dog beside me

He started to scold me
as he always did
My mother said
“Come on! Lay off of the kid!”

Pine needles were scattered
broken bulbs, too
But I only sustained
a small scratch or two

The tree went back up
a few ornaments lighter
The rope that secured it
was fastened much tighter

My act of heroics
became quite a joke
To share with the relatives
and neighborhood folk

They would all laugh
I’d join in too
At the sacrifice made
for the Animal Zoo

With all the excitement
as best I recall…
The dog never did
get sick after all!

Category: Christmas