Apr 212012
 

Detail of the movie poster for Where The Boys Are (1960) l-r Dolores Hart (Merritt) Paula Prentiss (Tuggle) Connie Francis (Angie) and Yvette Mimieux (Melanie)

Hey Kids, let’s have one more week of Spring Break! It’s Where The Boys Are! (1960)

…That’s my ambition–to be a walking,talking baby factory! Legal of course and with Union labor!”

Such is the pronouncement of ‘Tuggle’, the otherwise unnamed college gal on Spring Break with her fellow co-eds in Ft. Lauderdale.  Tuggle is under the impression that because she is 5″10, she is only good for reproduction.  Just one of many misperceptions these girls express in this somewhat seminal teen flick of 1960.  I say somewhat seminal because although its plot (girl-meets-boy, girl-loses-boy, girl gets boy back) isn’t new, by its attitude toward intimacy among young adults and its audacity in actually using the word ‘sex’, was just controversial enough to stimulate young minds and concern their parents.

By today’s standards, if course, it’s incredibly tame, but in 1960 it was shocking.  What I find most interesting about it is how it reflects male/female relationships then; the casual disregard for the women’s feelings,  the accepted female roles of the young women, and naiveté bordering on ignorance, much like Mad Men in Season 1.  All four women (sorry, ‘girls’) have dating troubles, but the way they deal with it will make many modern women cringe.

First, there’s Merritt Andrews, (Dolores Hart) the immaculately neat but reluctant ‘leader’ of the group. She earns the respect of her friends by explaining what ‘making out’ means to her ancient Sex-Ed teacher and pronouncing that yes, a girl should ‘play house’ with a boy before marriage;.  This statement gets her sent to the Dean’s office, where we learn that she’s incredibly smart, but just barely passing.  The solution?  Two weeks in Ft. Lauderdale, along with her pals  to celebrate the rites of spring.

The serious Merritt is joined by Tuggle, (Paula Prentiss) the earthy hockey captain Angie, (Connie Francis) and willowy ingénue Melanie (Yvette Mimieux).  In time they are wooed and courted by Ryder Smith (George Hamilton) T.V. ( Jim Hutton) Basil (Frank Gorshin), Dill, and Franklin.  And while the gals dream about getting their ‘M.R.S.’ degree, the guys just want S.E.X.  With dead seriousness, TV asks Tuggle a wince-inducing question: “Are you a good girl?”  The women all face this dilemma of being “live-it-up kids” or staying virginal until marriage.  Merrit and Tuggle are determined to be the latter, Melanie the former, and Angie just wants a date. The boys prove they cannot be trusted– as a telling line from T.V. proves “I don’t ask for your belief, only your attention!”

All the women fall under the boy’s spell, and Melanie is especially smitten.  Obsessed with ‘ivy leagers’, she jumps right in with  a couple of Pete Campbells.  One wonders if she had been so willing if she has seen these jokers tossing a coin over who would get her. ( I suspect she wouldn’t, because, don’t you see, they’re ivy leaguers!)  Tuggle’s fellah T.V. is obsessed with sex, and brings it up as often as possible.  Angie’s fellah, eccentric Jazz musician Basil, has little respect for her, but she follows him like a puppy.  Merrit meets the ultimate Ivy League stallion, Ryder Smith, who sails her around on his rich family’s ‘putt’putt’.  All the guys have a line.  TV insists he’s a bust with women. Ryder insists that sex is no longer a matter of morals,  but a friendly thing, like shaking hands or making sure you catch a persons name when you’re being introduced…it’s actually serving your fellow-man!” he argues.

How far the friends choose to ‘serve’ becomes the main issue when the couples, minus Melanie,  gather for a final night of partying.  But what happens to one of them arrives just in time to determine just how close to the sex line they get.

If you love early 60′s romantic romps and mid-century style, Where The Boys Are is the place for you!   It isn’t bogged down by ridiculously over-blown characters (as many Frankie and Annette beach movies would become) and it has real emotions at its core. The fashions are pretty fab, of course, and I must say that although T.V. is considered the weirdo here, he’s the one dressed most practically for the beach, no melanoma for him.  The girls all long for an even tan or even a burn; oh if we knew then what we know now!  Connie Francis is as radiant as ever in her first  movie, but I find it ridiculous that her character is portrayed as a less attractive girl. She’s a doll!   It’s a perfect movie for cold winter evenings up north, and for anyone who can’t afford a spring break.

Alas Hollywood, having begun to up its recycling in 1984, released an updated version that year, which I’m only mentioning to remind you the original is MUCH BETTER!  Seriously, don’t bother!

SNACKING GAME:  This week’s words are:  BOY and BOYS

TRIVIA:  Connie Francis (Angie) had her pals Neil Sedaka and Howard Greenfield write two versions of the title song, although the song chosen was the one all three hated!   I wonder what the good one was? Unfortunately it was never recorded.  Sedaka and Greenfield also wrote Connie’s other number, the snappy “Turn on the Sunshine”

The lovely Dolores Hart later left movies and went where the boys aren’t.   She took up the veil and become a cloistered nun at The Abbey of Regina Laudis. Today she is the Mother Prioress of the Benedictine order, but she still connects to her acting roots, as her sisters have an outdoor theater that produces plays and musicals in the summer.  Still a voting member of the MPAA, she was nominated for an Academy Award this year for her work on God is the Bigger Elvis, a short documentary about her life after Hollywood.

Jim Hutton and Paula Prentiss played couples in four movies for the studio.  The studio liked them together for their height.  Their onscreen romances had fans asking if they were really married (no, they weren’t) but they had wonderful chemistry together. Sadly, Jim Hutton passed on way too soon in 1979 (cancer).  He is missed.

See you next week!

 

 

FacebookGoogle+RedditShare

  36 Responses to “Retro Reel Review # 2 Where The Boys Are (1960)”

  1. In the 60s, my older sister and I watched this movie on TV several times, each time baffled, titillated and ultimately contemptuous of the behavior of both boys and girls. We saw it as a primer on who not to date and how not to behave/think. Neither of us ever went on a spring break trip, either. A good example of how things had already changed between 1960 and 1966…

    What’s especially (and alarmingly) retro about this movie is the opening scene of a howling snowstorm in March. This year, 2012, it was in the 80s at times in March. Why drive to Florida?

    Well-written but the unusual (for BoK) number of typos are distracting. Also, consider the appropriateness of the word “seminal” when writing from a feminist slant.

  2. IS distracting.

    • I apologize for the typos, which I fixed. (Damn fast fingers) And note that I say it’s only somewhat seminal in the sense of its groundbreaking way of actually using the word ‘sex’. I know it is hardly a tome to feminism, but it’s a start in the right direction of Hollywood just starting to address the real-world problems of young relationships in movies.
      And yeah, I remember when March really was still a snowy month –just last year in my town!

      • I know it is hardly a tome to feminism, but it’s a start in the right direction of Hollywood just starting to address the real-world problems of young relationships in movies.

        It’s been a while since I’ve seen it but I vaguely remember Merritt having a certain strength and integrity when she talked about men who thought women were “something cheap and common.”

        • Yes, Mad Chick, Merritt does have integrity, it is only until the last minute when she almost, well, breaks her promise to herself. She’s also a bit maternal, especially to Melanie, who looks up to her.

  3. Therese, what a marvelous review. I have enjoyed the original Paula Prentiss version since it was released. Back then my major regret was that my studio had not made the movie! I did pull my DVD of it from the shelf so I could re-watch it a few days ago. I also have a DVD of the re-make, which I have watched only once.

    I love your reports of the “shocking” language!

    The old Hayes office of the Motion Picture Producers Association was formed a few years before I was born, but the restrictions were seldom enforced. Those talkies made up to July 1934 are often termed “Pre-Code” if they are now considered naughty. When that wet blanket “Mother Grundy” Joseph Ignatius Breen started vigorously enforcing the production code in July 1934, he was running the Production Code Administration with an iron hand. Trust me, it was a great day for the entire movie industry when the MPAA fired Breen in 1954. My studio, like all the others, had suffered under Breen’s silly rules.

    What did my heart good was that Breen lived until December 1965, so he got to witness the relaxed Production Code. Everything about “Where The Boys Are” which the public adored seemed to personally offend Breen. I mean, who else would require even married couples to always sleep in twin beds without touching? Breen limited kisses to no more than 30 seconds or 45 feet, which he personally measured using rewinders and a film measuring machine set up behind his desk.

    We all should rejoice that Paula Prentiss and Richard Benjamin have been happily married about 50 years. They co-starred in a TV series titled “He and She” (which my studio also did not produce). The public that watched adored the show, and were passionate like they are for Mad Men. James Aubrey, “The Smiling Cobra” was head of CBS programming then. He stated, “He and She” was the best program I ever canceled!” Well, we all remember Paula Prentiss, but we try to forget Aubrey.

  4. C.C., Sounds like Mr. Breen was an uber-Puritan! He must have been miserable.
    Is it okay to ask what studio you worked at? If not, no big deal. Love your insights, thanks!

    • Technically Joe I Breen could not be a Puritan because he was hired to re-write and then enforce the Production Code after editing various conservative Catholic newspapers.

      • Ah! Well, I just meant his attitude was Puritan!

        • And yet, when the price was right, Joe I Breen could see things the studio way: Case in point–Gone With The Wind.

          After dealing with Joe I Breen and the Production Code Administration, the likes of Priscilla Goodbody at NBC Standards and Practices was a cake walk.

  5. Here is a line from Mad Men that incorporates the real-life actress Yvette Mimieux in comparison to fictional character Megan Calvet that was uttered by Harry Crane and responded to by Ken Cosgrove right after the sudden death of Ida Blankenship and Megan took over as Don’s secretary. Bear in mind, not only had Ida died on the job but Alison previously had quit her job by running out of the office in a frenzy and not giving Don any firm notice:

    Harry: “I wonder how long Yvette Mimieux is going to last at her desk.”

    Ken: “We should start a pool to see if she quits, is fired or dies.”

    Comments on this exchange:

    a) I am NOT totally familiar with all the early movies of Yvette Mimieux but I do remember her playing a very vulnerable, unworldly character in Where the Boys Are (tried to commit suicide), a sensitive young wife to Richard Chamberlain in Joy in the Morning (1965) and in The Light in the Piazza (1962) where Yvette plays a young woman with the mentality of a ten year old child.

    In other words Harry could have invoked Yvette Mimieux to suggest that Megan would not stand up to the rigors of being Don’s secretary and she didn’t know what she was in for.

    b) Interestingly neither man suggested Megan could marry her boss. Evidently Don had done a very good job creating the impression he would never mix business with pleasure (as Roger did with Jane) and that if he did he would seek the company and pleasure of females outside the office.

    I think a brilliant line was offered up by Joan Holloway in the first season while talking to Peggy:

    “I always wondered why he (Don) ignored me. Perhaps because he so good looking he can go outside the office whenever he wants. Most of these fellas can’t.”

    c) And finally we get an insight into the personalities of both Harry and Ken. Harry is no different than he was in early seasons talking behind other people’s backs and ridiculing them.

    Remember Harry’s remark to Stan in the premiere episode of season 5 mocking Megan’s Zou bisou bisou tribute to Don.

    On the other hand I find it interesting that Megan and Ken are having an adult conversation across the dining room table in Signal 30 about Ken’s writing and that Ken has “grown up” significantly over the seasons especially compared to season one where he was extremely immature. Perhaps his marriage to Cynthia and Ken moving into his late 20′s helped to rid Ken of his childish ways. In real life that can happen so why is it impossible that it could happen in a fictional TV series as well that is now in its fifth season.

    • For unknown reasons, there is a whole lot of confusion about the spelling of names:

      The actress who plays “Trudy Vogel Campbell” only uses a single “l” in Alison Brie.

      Matt Weiner approved every credit on Mad Men in which actress Alexa Alemanni played receptionist/secretary “Allison” with 2 “ll”

      • One movie I remember from Yvette was “Diamond Head”(1963) with Charton Heston (dressed, of course) and George Chakiris. It dealt with racism and predjudice in Hawaii. I’ll have to see if it’s on DVD.

  6. I think one of the outstanding themes explored in this movie is both sides of the coin dealing with a rich or prominent boy hooking up with a girl of less prominence or less substantial means.

    George Hamilton plays the boy born with a silver spoon in his mouth romancing the a middle-class female college student portrayed by Dolores Hart. At the end of the movie the characters end up after spring break on a Ft. Lauderdale beach promising to see each other in the future. Their relationship appear genuine.

    Meanwhile Yvette hooked by with a college fratboy in Ft. Lauderdale during the movie who led her on and basically abused her (the couldn’t show the full extent of the physical abuse in 1960) which caused her to try to commit suicide.

    Interestingly Joan Holloway in a conversation with Roger is discussing this same plot line in The Apartment with Shirley MacLaine in which Maclaine’s character also attempted suicide after being spurned by a powerful executive. When Roger tells Joan that MacLaine’s character was not normal she says to Roger, “She seems pretty normal to me.”

    And in light of these two movies of the 1960′s, the prevailing attitude among the majority of people then (or perhaps even now) would be that there would be a good chance that a young girl would become psychologically damaged or extremely unhappy by being in an ongoing relationship with a rich man or a very powerful one. And the example of Don and Megan and their age difference would have created massive cognitive dissonance among Don’s sphere of influence in 1965 and 1966. By virtue of the many misogynistic anti-Megan posts in the blogosphere that Megan is faking her happiness and the view by many that Don is now extremely boring as a happily married man I think you see evidence of that in 2012 as well.

    • techno, both of your posts are excellent. I didn’t even consider the class distinctions here, but yes, they do play a part. I think Melanie’s character is obsessed with ‘ivy leaguers’ because she sees them as the ultimate Prince Charmings; they already have a nest egg to support a future wife and family, and she could live like a queen if she married one.
      It’s crazy in our times to think of college girls barely out of their teens to be so intent on marriage, but that was bend of the culture at the time, just a few years before ‘the real 60′s’ would affect relationships. Tuggle and Merritt both want a husband without giving up their virginity, Melanie wants a rich boy and takes Merritt’s pronoucement on ‘playing house’ to heart. But even Merritt tells Melanie after Mel’s first hangover that she’s not the last word on relationships — this dialog was very telling :
      Mel: No matter what happened I’m in love with Franklin!
      Merritt: It’s none of my business, but a couple of days ago didn’t you just say the same thing about Dill?
      Mel Merritt, what are you trying to do?
      Merritt: I’m just trying to see that you don’t get caught on some crazy merry-go-round
      Mel: I’m not caught!
      Merritt: Alright Mel, forget it, I’m sorry…I know advice is cheap
      Mel It is when you don’t take it yourself.
      Merritt: Oh, now we’re talking about me?
      Mel: Well why not? You sure haven’t made a secret about how you feel about things! In fact, you’ve practically preached on the subject!
      Merritt: Preached?
      Mel: Well talked anyhow, that day in class-
      Merritt:–and that’s what I was so right about?
      Mel well you seemed to think so
      And since when am I the last word? I was talking about people in general, not kids running out and getting drunk! ”
      But Melanie disregards this, and sadly, is date-raped by the first boy she was with (Dill) and nearly kills herself after the fact, walking onto the highway after the incident. Now in some regards, the idea of this movie isn’t too far removed from “How to Marry a Millionaire”, but the dramatic element of Melanie’s disastrous relationships was the element that made this teen movie much more relevant that the other beach party movies. It brought the prospect of careless teens on the beach down to earth. It also covered jealousy, pride, arrogance, ignorance, lust and envy. And it managed to be fun throughout most of it! Not bad for a romance comedy!

      And I hate seeing how mean comments can get about Megan. I hope that will desist.

      • Speaking of “How to Marry a Millionaire”, Lauren Bacall’s next movie “Womans’ World” can also be discussed with WTBA. It has thematic ties with MM.

        • I just looked Women’s World up, but unfortunately it’s not on DVD at this time. I’ve never seen it,(!) but it looks great! I’ll keep an eye our for it, thanks!

          • The B&W trailer is on youtube, but that’s it. “How to Marry a Millionaire”, “3 Coins in the Fountain” and “Woman’s World” have the same director and basic multiple stories around a theme set-up. Focus is more on the women just like WTBA. They are somewhat a trilogy and may be reviewed together. I remember “Woman’s World” as the best of the 3, but the other 2 are better known. And it has the most relevance to MM.

    • Speaking of young women who suffer misfortune with men who are “above their station”, I recall Suzi Parker having a rough story arc with Louis Jourdan in The Best of Everything. Betty was reading the book several seasons ago and had a pointed comment about Joan Crawford’s unattractiveness.

    • its not that a young woman would be damaged by being in a relationship with a powerful or wealthy man- she would be damaged and judged either way. She would lose if she withheld sex and lost the guy ( being dumped ) and she would lose if she gave in , had sex, and was dumped anyway. Thats why Betty is so worried about Sally – “you know what happens to fast girls ” they end up preganat and abandoned. It was hell. the double standard. You were supposed to withstand whatever persuasion or coersion brought to bear, but you risked scorn and isolation if you did.

  7. I’m liking this series very much – and the segueway from Black Narcissus to a film about M. Dolores is really fun. In the interests of accuracy, a couple of things. M. Dolores is M. Prioress of the Abbey, not of the entire Benedictine Order. The Abbey community is a suborder – their official title is “Benedictines of the Primitive Observance.” And the Oscar nomination was for the film as a whole; M. Dolores was not originally going to be in attendance at the Oscars, but M. Abbess (M. David) told her she should go.

    I’m really curious to see if your next retro review will be Audrey Hepburn, in The Nun’s Story! (Just kidding.) Keep up the fun work.

    • Glad you’re enjoying it Pele, and thanks for the info on Mother Dolores; I meant to write that she is the Prioress of this particular benedictine order, but my fast typing got the best of me again!

      The Nun’s Story is pretty incredible too, maybe I’ll do that someday, when I have a copy. Thanks again, and enjoy!

  8. I’ve seen this movie! I didn’t see it until the ’90s, but I thought it was cute. I liked the scene of the two girls sneaking crackers and jelly in the coffeeshop (or diner…whatever it was) because they didn’t have enough money to buy a meal. :)

    • That’s a very cute scene, it’s often pointed out that Angie has a criminal mind, but she’s really just practical, isn’t she?

      • As someone who has also had to be frugal at times, I say, definitely. :)

        Too bad there weren’t grocery stores with people giving out free food samples in her day–she’d have loved it! ;-)

  9. As was noted above the movie Where the Boys Are was released in 1960. When analyzing any movie from a historical point of view, content is extremely important but also is the actual release date and the environment that existed at the time.

    In relation to Mad Men and 1960 here are 3 themes the movie deals with or reveals:

    a) The optimism and exuberance of youth which was exemplified by the campaign of JFK.

    b) The dyfunctional relationships of young people and how turbulent they could become and the fallout that could arise

    c) No minorities were prominent in the movie; the characters were absorbed with themselves and white angst and not focused on how unfair the world was to minorities.

    As to this point I am NOT criticizing the movie for this omission but simply pointing out how much different America was in 1960 compared to 2012 or even 1966. I would venture a guess that WTBA movie, in the wake of the Kennedy assassination, civil rights demonstrations and Vietnam war protests, would not have gone into production then. And you can say that about a lot of movies, can’t you: Right place, right time.

  10. For any of you Connie Francis aficionados out there–keeping in mind that I’m somewhat of a young’un on these boards–does this song remind you at all of Connie Francis? I first heard it within the past year or so on “Solid Gold Oldies” (Music Choice radio through the cable company) and I thought it was CF at first.

    Never knew what the band looked like (or anything about their military background) before opening this video!

    • Hi Mad Chick! Yep, you’re a young’un! I’ve heard this song many times, but up to this moment I didn’t know they were a marine group ether! This was released in 1963. The Essex hailed from Camp LeJune in North Carolina, and this was a great song! Very snappy as was the style at the time (just before The Beatles exploded in the U.S.) Here a link.

      • Thanks for the link!

        I never really knew much by CF – just went to YouTube now to sample a little bit of some of her songs. I guess the Essex singer doesn’t really sound so much like her, vocally, but something about the style of “Easier Said Than Done” reminded me of CF when I heard it–based on what I had seen of her in Where the Boys Are.

  11. There is one type of character in WTBA which is virtually extinct in modern movies (but not in Mad Men), and that is the character played by Connie Francis a sweet, young, innocent, wholesome good-looking girl who avoids the trouble that Yvette Mimieux got into in the movie, but is a bit awkward, backward or shy. Wikipedia refers to the Connie Francis character “acting clumsily when it comes to romance.” But she ends up surviving spring break in Ft. Lauderdale and heading back north to continue her studies.

    And now you might ask why are these types of female roles not explored more by modern film makers? In a nutshell, they feel any depiction of a female in this manner is seen as a gross insult to modern-day females and that no young female now walk around America so unenlightened or act in this manner subservient to the what a man thinks about them

    I love many aspects of MM but I would put high on my list the insistence of MM scriptwriters NOT to modernize young girls intellectually or socially based on the series being set in the 1960′s but to show a good number of them as unworldly or not totally aware of all the evil that existed in the world.

    I thought a fantastic scene was when Dr. Faye was hosting the focus group of young women in which these women were encouraged to open up about their thoughts on beauty and beauty products. The woman to the direct right to Megan (on screen to the left), her name was Dottie, was outstanding in bringing a young naive female presence to the table on what she felt attracted to her guy and but he wasn’t attracted to her and why he stared at other girls and then how distraught she was still feeling after he had broken up with her months earlier. And the line that summed up her air time on MM was this: “You only can do your best with what God gave you.” And then she went on to say regarding make-up: “It doesn’t matter what I see; it only matters what she sees.” And she closes by saying, “I felt like I gave him everything and I wind up with nothing.”

    This is a decent person.

    And it is this one scene that prompts Alison to get emotional with Don and quit.

    This character was a combination of the Connie Francis/Yvette Mimieux character in WTBA. Do women like this exist in 2012? I wonder because they are never shown in the movies.

    Again MM follows up on the theme of young women spurned by their lovers and the accompanying fallout. And then Megan proves to be the exception to the rule which antagonizes many.

    • I think MW and Mad Men has been very careful to make the women slowly aware of their own independence. It hasn’t dawned on all the female characters all at once that they can have a degree of control over their lives, it’s been very subtle. Like when Betty was writing checks when Don was away. I think MM has been very true to this attitude toward women of the time.
      As to if there are young women now who think like the Melanie and Angie? Of course they are, but I think if they were portrayed, it would not be flattering. All four women in WTBA may have their naivetes, but they still have heart and soul, and being young women, they have a lot to learn. In movies and TV shows aimed at teens these days, they’re either too cutesy or too raunchy, there is little if no in-between. There are female peers of my middle-school son who think Snooki is a great role model, and there are girls who prefer Kate Middleton and Beyonce. I hope that whoever they admire, that they will follow their hearts and their common sense as they approach maturity, and , in the case of the Snooki’s, just think life is one big party.

      • Well-said, Therese. I agree about them slowly aware of their own independence. We’ve seen it at times with Betty and we’ve definitely seen it with Peggy. Even in Season 1, when Peggy was still somewhat meek compared to the Peggy of later seasons, she was still assertive at times—with Pete, for instance–she let him know that she wasn’t going to let him stop her from doing her job.

      • I agree- we need to teach young women how to value thier worth. I am a child support caseworker- Its tragic to me that so many young women have children ( with other chidren) with no idea how to provide for them. They have this naive belief that the state will make the guy pay, or pay them, because they need the money. They are so woefully unprepared.

  12. Quite right about the sexual politics of the movie, but there is one moment where one of the males seems more advanced. At one point, Ryder tells Merritt that he likes her, then says how odd it is that he said that, since he’s never told a girl he likes her before. When she doubts him, he says, seming almost surprised himself, “Oh, I’ve told them that I loved them lots of times, but never that I liked them.” In the atmosphere of the movie and the times, that could almost be called a breakthrough.

    I love Frank Gorshin and his uber-hip jazz quintet. They refuse to accept payment, since that would obligate them to the audience. “We play what we like,” he says proudly. “We’re non-corrupt.” And I love the titles of their compositions: “The Nuclear Love Song” and “A Meeting Between Shakespeare and Satchel Paige on Hampstead Heath.” LOL

    • And at the end, Merritt have this exchange:
      Merritt: Do you love me, Ryder?
      Ryder:He I think so.
      Merritt: Do I love you, Ryder?
      Ryder; I hope so!

      It’s a beautiful exchange and it expresses the maturity that these two have acheived. He asks if she can come to some of the big events coming up in Senior year at Brown, and she says yes. After the horror of Melanie’s date rape, both Ryder and Merritt realize that they have plenty of time to get to know each other, and to take it slowly.
      In my dream future for them, Merritt stays on at college and achieves her Masters, she and Ryder don’t marry until she’s done with college and has established in a career — I suspect she’d be a good counselor or maybe an ambassador to the USSR (she was studying Russian) They move to a farm in upstate NY, have a couple of kids too.As the 60s end, she and Ryder become peace activists and leaders in Women’s Liberation! By 2010, they’ve moved back to Florida, and spend their twilight years riding around the Keys in the family putt-putt, marvelling as their granddaughter runs for the Senate.

  13. WTBA is a tribute to the innermost desire of Americans to travel to and to explore new frontiers, to have a good time while doing so, and to use and benefit from their newfound experiences to move forward in their lives, a birthright of all Americans.

Sorry, the comment form is closed at this time.

css.php