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TO THE MEMBERS OF THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES Vol.2 No.1 1201 Taft Bldg., Hollywood 28, Calif. Jan. 1946 ACADEMY NOMINATIONS These are the results of the Nominations Ballots cast by over 9,000 members of the motion picture industry as announced January 27th by Academy President Jean Hersholt. The winners of these. as well as other classifications on . which nomi nations balloting has not been completed. will be decided by voting on Final Ballots to be mailed February 11th. Winners of all Awards will be announced at the Academy Awards Presen tation on March 7. 1946 at Grauman's Chinese Theatre. BEST MOTION PICTURE OF THE YEAR ANCHORS AWEIGH THE BELLS OF ST. MARY'S THE LOST WEEKEND MILDRED PIERCE SPElLBOUND BEST PERFORMANCE BY AN ACTOR BEST ACHIEVEMENT IN DIRECTING B;ng Crosby-THE BELLS OF ST. MARY'S THE BELLS OF ST. MARY'S Gene Kelly-ANCHORS AWEIGH THE LOST WEEKEND Roy M;lIand- THE LOST WEEKEND NATIONAL VELVET Gregory Peck- THE KEYS OF THE KINGDOM THE SOUTHERNER Cornel W;lde- A SONG TO REMEMBER SPELLBOUND BEST PERFORMANCE BY AN ACTRESS BEST WRITTEN SCREENPLAY Ingr;d Bergman- THE BElLS OF ST. MARY'S Go-I. JOE Joan Crawford- MILDRED PIERCE - THE LOST WEEKEND -- Greer Garson- THE VALLEY OF DECISION MILDRED PIERCE Jennifer Jones-LOVE LETTERS PRIDE OF THE MARINES Gene T;erney-LEAVE HER TO HEAVEN A TRtE GROWS IN BROOKLYN BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE BEST ORIGINAL SCREENPLAY M;chael Ch ekhov-SPELLBOUND DILLINGER John Doll-THE CORN IS GREEN MARIE-LOUISE James Dunn-A TREE GROWS IN BROOKLYN MUSIC FOR MILLIONS Robert M;tchum-G. I. JOE SALTY O'ROURKE J. Carrol Na;sh-A MEDAL FOR BENNY WHAT NEXT, CORPORAL HARGROVE? BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE BEST ORIGINAL MOTION PICTURE STORY Eve Arden-MILDRED PIERCE THE AFFAIRS OF SUSAN Ann Blyth- MILDRED PIERCE THE HOUSE ON 92ND STREET Angelo Lansbury-THE PICTURE OF DORIAN GRAY A MEDAL FOR BENNY Joan Lorr;ng-THE CORN IS GREEN OBJECTIVE - BURMA Anne Revere-NATIONAL VElVET A SONG TO REMEMBER .

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JOAN CRAWFORD Early Life and Inspiration Joan Crawford Was Born Lucille Fay Lesueur on March 23, 1908, in San Antonio, Texas
JOAN CRAWFORD Early Life and Inspiration Joan Crawford was born Lucille Fay LeSueur on March 23, 1908, in San Antonio, Texas. Her biological father, Thomas E. LeSueur, left the family shortly after Lucille’s birth, leaving Anna Bell Johnson, her mother, behind to take care of the family. page 1 Lucille’s mother later married Henry J. Cassin, an opera house owner from Lawton, Oklahoma, which is where the family settled. Throughout her childhood there, Lucille frequently watched performances in her stepfather’s theater. Lucille, having grown up watching the many vaudeville acts perform at the theater, grew up wanting to pursue a dancing career. page 2 In 1917, Lucille’s family moved to Kansas City after her stepfather was accused of embezzlement. Cassin, a Catholic, sent Lucille to a Catholic girls’ school by the name of St. Agnes Academy. When her mother and stepfather divorced, she remained at the academy as a work student. It was there that she began dating and met a man named Ray Sterling, who inspired her to start working hard in school. page 3 In 1922, Lucille registered at Stephens College in Columbia, Missouri. However, she only attended the college for a few months before dropping out when she realized that she was not prepared enough for college. page 4 Early Career After her stint at Stephens, Lucille began dancing in various traveling choruses under the name Lucille LeSueur. While performing in Detroit, her talent was noticed by a producer named Jacob Shubert. Shubert gave her a spot in his 1924 Broadway show Innocent Eyes, in which she performed in the chorus line.
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Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense.
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South Hill Park Cinema · Bracknell
Film and Live Screenings South Hill Park Cinema · Bracknell Last Christmas wilde theatre · mansion house · cinema · italian gardens · studio theatre · gallery bars · licensed wedding venue · recital room · art and dance studios · restaurant Noveber – December 2019 Members can book from Fri 18 Oct southhillpark.org.uk Non-members from Wed 23 Oct HEARING LOOP Dementia-Friendly and Relaxed Screenings ALL TICKETS The cinema is fitted with £5.50 each an audio induction loop. Customers can use the Specially-designed screenings for people living with dementia, T-setting on their hearing their carers and anyone preferring to experience cinema in calm aids for clear film sound. surroundings. With lights left on low and sound level reduced, these relaxed screenings are on the second Monday of each month. Key to Symbols Doors open 1.30pm for a 2pm start, with a short interval. Silver Screening Si Complimentary refreshments will be provided after each film screening. All staff and volunteers are Dementia Friends. Bringing in Baby BiB Not for Bringing in Baby Not BiB When booking please advise if wheelchair access is required. Family Screening F An American in Paris Gold Diggers of 1933 Hard of Hearing HoH Mon 11 Nov 2pm Mon 13 Jan 2pm Dir. Vincente Minnelli, US, 1951, 111 mins Dir. Mervyn LeRoy, US, 1933, 96 mins Family Super Deal F Gene Kelly, Leslie Caron, Oscar Levant Dick Powell, Ruby Keeler, Ginger Rogers Special prices for families. Things become complicated when A wealthy composer secretly rescues Please check film certificate two friends fall in love with the unemployed Broadway performers and content before booking same woman.
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Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 TWILIGHT AND SHADOWS: THE LESBIAN PRESENCE IN HLM NOIR DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Terry L.
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“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location.
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Films with 2 Or More Persons Nominated in the Same Acting Category
FILMS WITH 2 OR MORE PERSONS NOMINATED IN THE SAME ACTING CATEGORY * Denotes winner [Updated thru 88th Awards (2/16)] 3 NOMINATIONS in same acting category 1935 (8th) ACTOR -- Clark Gable, Charles Laughton, Franchot Tone; Mutiny on the Bounty 1954 (27th) SUP. ACTOR -- Lee J. Cobb, Karl Malden, Rod Steiger; On the Waterfront 1963 (36th) SUP. ACTRESS -- Diane Cilento, Dame Edith Evans, Joyce Redman; Tom Jones 1972 (45th) SUP. ACTOR -- James Caan, Robert Duvall, Al Pacino; The Godfather 1974 (47th) SUP. ACTOR -- *Robert De Niro, Michael V. Gazzo, Lee Strasberg; The Godfather Part II 2 NOMINATIONS in same acting category 1939 (12th) SUP. ACTOR -- Harry Carey, Claude Rains; Mr. Smith Goes to Washington SUP. ACTRESS -- Olivia de Havilland, *Hattie McDaniel; Gone with the Wind 1941 (14th) SUP. ACTRESS -- Patricia Collinge, Teresa Wright; The Little Foxes 1942 (15th) SUP. ACTRESS -- Dame May Whitty, *Teresa Wright; Mrs. Miniver 1943 (16th) SUP. ACTRESS -- Gladys Cooper, Anne Revere; The Song of Bernadette 1944 (17th) ACTOR -- *Bing Crosby, Barry Fitzgerald; Going My Way 1945 (18th) SUP. ACTRESS -- Eve Arden, Ann Blyth; Mildred Pierce 1947 (20th) SUP. ACTRESS -- *Celeste Holm, Anne Revere; Gentleman's Agreement 1948 (21st) SUP. ACTRESS -- Barbara Bel Geddes, Ellen Corby; I Remember Mama 1949 (22nd) SUP. ACTRESS -- Ethel Barrymore, Ethel Waters; Pinky SUP. ACTRESS -- Celeste Holm, Elsa Lanchester; Come to the Stable 1950 (23rd) ACTRESS -- Anne Baxter, Bette Davis; All about Eve SUP. ACTRESS -- Celeste Holm, Thelma Ritter; All about Eve 1951 (24th) SUP. ACTOR -- Leo Genn, Peter Ustinov; Quo Vadis 1953 (26th) ACTOR -- Montgomery Clift, Burt Lancaster; From Here to Eternity SUP.
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American Moviemakers: Directed by Vincente Minnelli
American MovieMakers "AMERICAN MOVIEMAKERS: DIRECTED BY VINCENTE MINNELLI December 15, 1989 - January 28, 1990 All films directed by Vincente Minnelli, produced by MGM Studios, and Courtesy of Turner Entertainment, Co., except where otherwise noted. Cabin in the Sky, 1943. With Ethel Waters, Eddie "Rochester" Anderson, Lena Home, Louis Armstrong. 96 minutes. I Pood It, 1943. With Red Skelton, Eleanor Powell, Lena Home. 101 minutes. Meet Me in St. Louis, 1944. With Judy Garland, Margaret O'Brien, Mary Astor, Lucille Bremer. 113 minutes. The Clock, 1945. With Judy Garland, Robert Walker, James Gleason. 90 minutes. Yolanda and the Thief, 1945. With Fred Astaire, Lucille Bremer, Frank Morgan, Mildred Natwick. 110 minutes Ziegfeld Follies, 1944, released 1946. With Fred Astaire, Judy Garland, Gene Kelly, Lucille Bremer. 110 minutes Undercurrent, 1946. With Katharine Hepburn, Robert Taylor, Robert Mitchum. 116 minutes The Pirate, 1948. With Judy Garland, Gene Kelly, Walter Slezak, Gladys Cooper. 102 minutes Madame Bovary, 1949. With Jennifer Jones, James Mason, Van Heflin, Louis Jourdan. 115 minutes Father of the Bride, 1950. With Spencer Tracy, Joan Bennett, Elizabeth Taylor. 93 minutes Father's Little Dividend, 1951. With Spencer Tracy, Joan Bennett, Elizabeth Taylor. 82 minutes An American in Paris, 1951. With Gene Kelly, Leslie Caron, Oscar Levant, Nina Foch, Georges Guetary. 113 minutes -more- The Museum of Modern Art - 2 - The Bad and the Beautiful, 1953. With Lana Turner, Kirk Douglas, Walter Pidgeon, Dick Powell, Gloria Grahame, Gilbert Roland. 118 minutes The Story of Three Loves, 1953. "Mademoiselle" sequence. With Ethel Barrymore, Leslie Caron, Farley Granger, Ricky Nelson, Zsa Zsa Gabor. 122 minutes The Band Wagon, 1953.
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1949-02-11, [P ]
Cho9* Variety of POLISH JlOME COOKED MEAL* EVERY DAY LIQUORSU WINES—BEER MIXED DRINKS Open Daily from 6:00 A. M SPECIAL SUNDAY DINNERS tok:3&.A M Friday, February 11, 1949 TOLEDO UNION JOURNAL Page Five Visiting Time IWewissaBid <a<»Ksip I BARBERSHOPPING I FINISHED '/> 11 TV 1 HOLLYWOOD — The “Bar- ( yQ O Pl ber Shop Quartet” number in CX k-/ X Xvl. geon, Johnson Top M e t r o-Goldwyn-Mayer’s “The! 7 Good Old Summertime,” has! wound up shooting, completing; w i the list of musical selections toi AlbStar ‘ Command Decision” be filmed. Judy Garland was z/- E<SCRE 0 featured in the number. I ^,4^ Releaaetf by WNU Feature*. For sheer thrills, mounting suspense and heart-gr:——g in O Give Lizabeth Scott a good tensity, there has never been a picture like “Command on,” death scene and she's happy. She Glamour. Inc the explosive, star-studded drama coming to the Valentine The didn’t like the one in “Dead atre. Reckoning” — “It was only a When you consider that the all-male cast of this new M-G-M three-line scene, and the dial offering is headed by such top ogue was terrible,” she explained film personalities, as Clark Ga at lunch the other day. “But I Iturbi Is Veteran ble, Walter Pidgeon, Van John have a five-line scene in “Bitter son, Brian Donlevy, John Hod- Victory,” and it was supervised In Films, After All iak, Charles Bickford and Ed by a famous doctor, so it’s abso HOLLYWOOD — When ward Arnold, you have an idea lutely authentic.” ever anyone congratulates of the importance attached by Jose Iturbi, who is one of M-G-M to its film version of the the headliners of “That Mid smach Broadway stage success.
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Film Noir Database
www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
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Hold Them Down: Oppression of Film Noir's Working Woman
Blythe 1 Hold Them Down: Oppression of Film Noir's Working Woman The struggle for women’s rights and roles in society has been an ongoing battle, since the beginning, with Adam and Eve. The subjugation that was presented upon Eve, because of her fault and easiness to be deceived, has trailed behind mankind, and film noir would not be excluded. The femme fatale seems to play the role of what Eve started, seducing men with her sexuality to carry out wicked schemes and being the downfall of all men. Thus, men began to identify women as a threat to their very essence but, yet, still cannot resist the temptation women can offer. However, when allurement is not heavily projected through a female’s sensuality, and her independence becomes her greatest asset, the attraction becomes non-existent, but the danger still persists. Michael Curtiz affirms the fear of working women in Mildred Pierce (1945) through Mildred Pierce (Joan Crawford) and Ida Corwin (Eve Arden); the oppression of working women in the household, work place and the dating realm traces back to early preconceptions placed on men—what it takes to be a man—and the effects of World War II during that era. Much like women, men are imprinted with certain aspects and obligations for simply being born a man. Frank Krutnick uses Sigmund Freud’s Oedipus Rex Theory as a way to acknowledge the beginning stage of sexual identification. He states, “Oedipus Rex is what is known as a tragedy of destiny. Its tragic effect is said to lie in the contrast between the supreme will of the gods and the vain attempts of mankind to escape the evil that threatens them.
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O. Henry's Full House/The Luck of the Irish
O. Henry’s Full House/The Luck of the Irish Christmas in Connecticut. simply the poignance of the music itself. Allen and Oscar Levant into a more farcical mode, Johnson requested that No, not the Barbara Stanwyck movie— As for the 1952 film, it took its place on his name be removed from the credits. my childhood. So long ago that nobody the very short shelf of Hollywood pic- The studio went him one better when had ever heard of climate change, and, tures which presented several brief sto- the sequence failed to amuse critics or in Cole Porter’s words, “You can bet all ries instead of a single, feature-length audiences by deleting the whole story right that your Christmas will be white.” tale. For example, in the preceding from the line-up. Red Chief remained Nor had anybody heard of VCR’s, much decade, the same studio had experi- AWOL from the film until it was restored less Blu-Ray, and if you wanted to savor mented with TALES OF MANHATTAN, for NBC’s TV broadcast. the memories of a great film—or its featuring an all star cast—typically the score—your only tool was a reel-to-reel key drawing-card in such films—in a se- The stellar cast of O. HENRY’S FULL audio recorder, probably a Wollensak, ries of stories by different writers tracing HOUSE deals audiences an entertain- plugged into your TV’s speaker jack. the life of a formal coat of tails passing ing hand full of drama and comedy You had to pause out the commercials from one owner to the next.
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Martin Milner
St. Edward's University MARTIN MILNER IN Susan Loughran COSTUME DESIGN Ellen Black Fred Zimmerman Happinessis . Maternity Store NEW & RESALE in Sizes 3-20 Bring this ad for 10% discount thru Sept. 1st . South of Oltorf Tuesday thru Saturday Across from Bank of Austin 441-9878 10 :00 a.m. to 5:30 p.m. THE CAST Margot Wendice . ... .. ................... .. ..... Constance Campbell Max Halliday .... .. .. .... ................ , ...... Richard Johnson Tony Wendice ..... ...... ...... ................ Simon Reynolds Dr. Lesgate . ..... .. ........................... Brian Springer Lt . Hubbard ........ .. .... ............ ..... MARTIN MILNER Ms. Duffy . .. ............. .. ............ ...... Mary Scheitinger Policewoman Thompson .. ... ........ .......... Virginia Johnson Pendelton ............ ....... ................ Steve Carpentier Miss Rydell ........................................ Sharon Round Mr. Roger Dadyar .................................. Sheida Rastegar Understudy to Lt. Hubbard .......................... Fred Zimmerman Setting The living room of the Wendice's apartment in New York City. The time is the present. ACTI A Friday evening in September ACTH Scene 1: Saturday evening Scene 2: Later that night Scene 3: Sunday morning ACTIII A year later, in the early afternoon. There will be a ten minute intermission after each Act. Please - smoking and refreshments in the Lobby only . The actors request that patrons refrain from taking photographs or the use of recording devices during the performance. If you wish to Adverti s e in the Theater Playbill , Call 444- 8398 Ask/o r Playb ill Edito r, Fren ch Cuisine & Libation s Contin ental Steaks , Fish & Chicken Entrees Ke vin Phinn ey Crepes, Quiche & Delightful Pastries . Ope n 11 a. m. 4ntil Midn ight Open early-Sa t. & Sun. (9 a.m.) for Breakfast Ope n late till 2 a.m . Fri. & Sat. nights at 'The Bakery' for pastry . 3 10 East 6th.
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