How to be like Patrica Franchini from "À bout de souffle"

I've always thought that Jean Seberg had incredible style. It gave me faith that a simple Midwestern girl could dress so easily and beautifully Parisian. Seberg's role as Patricia Franchini in Jean-Luc Godards's 1959 French Wave film "À bout de souffle" (named last week by TCM one of the 15 most influential films of all time) encapsulates the chic style she is remembered for. Like the real-life Seberg, Patricia was an American expat living in Paris. But because Patricia's end is far less tragis than Jean's, I've come up with a list of everything one would need to wear, say, live, and do to be like Godard's heroine.
Patricia's Wardrobe:

• The New York Herald Tribune shirt – I purchased mine from Neighborhoodies. I suggest the Girls Communitee style in white (natch…), as it is closest to the type that Jean wore
• Black Capri pants
• A striped circle dress with a rounded collar, big buttons, and matching belt at the waist
• White cashmere cardigan
• Wool pencil dress, nipped at the waist, button down front and two large pockets on the chest
• Your man’s large button down shirt
• Black and white (horizontal) striped boatneck sweater
• Black and grey (vertical) striped shirt with no sleeves
• White twill shorts
• Black pleated skirt (ending at your knees)

Patricia: What is your greatest ambition in life?
Parvulesco: To become immortal…and then die.

Patricia's Accessories:

• Black oblong retro sunglasses
• Small white purse
• Flat black loafers
• Black ballet slippers
• A small silver watch (worn on the left wrist)
• Fedora (borrowed from your man)
• Copies of the New York Herald Tribune
• White high heels
• A teddy bear with a white bow
• Prints from Renior, Picasso, and Paul Klee

Patricia: Why do you want to make love to me?
Michel: Because you’re beautiful.
Patricia: But I’m not beautiful.
Michel: Okay, then because you’re ugly.

Her Pastimes:

• Aspiring to be a journalist
• Selling the “New York Herald Tribune” on the Champs-Elysées
• Harboring fugitives
• Quoting Faulkner, Thomas, and Rilke

Patricia: Do you know William Faulkner?
Michel: No. Who’s he? Have you slept with him?

Acquaintances:

• handsome young French thugs who think they're Humphrey Bogart
• police men

Hangouts:

• sidewalk cafés
• her apartment
• the cinema (where she sneaks into the screening of Whirpool)
• the Champs-Elysées

Pearls of Wisdom:

• It’s sad to fall asleep. It separates people. Even when you’re sleeping together, you’re all alone.
• I don’t know if I’m unhappy because I’m not free, or if I’m not free because I’m unhappy.
• Are you afraid of getting old? I am.
• Between grief and nothing, I will take grief.
• We look at each other in the eye, and it’s no use.
• I’d like to think about something, and I can’t.

Check out Vogue’s old editorial featuring Christy Turlington as Patricia, and look at Mia Kirshner’s reimagining of Patricia on “The L Word” for some modern-day inspirations of Patricia

though she was born a long, long time ago

Evelyn Nesbit (born December 25, 1884 - died January 17, 1967) was a famous model, chorus girl, and silent film actress. The inspiration for Anne in "Anne of Green Gables," the life of Evelyn Nesbit was far less innocent. Sometimes referred to as " the girl on the red velvet swing," Evelyn will be remembered for her involvement in one of the most famous murder trials of the early 20th century.
Born and raised in Pennsylvania, this beautiful but shy girl attracted the attention of many local artists and photographers who begged her to pose for them. After her father died at an early age, leaving Evelyn and her family in near poverty, Nesbit convinced her mother to allow her to model. After moving into a tiny one-room apartment with her mother in 1901, Evelyn soon modeled for James Carroll Beckwith, an influential photographer who soon introduced her to many of his contemporaries, including Gertrude Kasebier, George Grey Barnard, and Frederick S. Church.
Evelyn was an extremely popular model, her look was the ideal for beauty during the turn of the century. Charles Dana Gibson even used Evelyn as a model for one of his infamous "Gibson Girls" portraits. At charging $10 a day for posing (approx. $30/hr today), Evelyn also was one of the wealthiest young women around at only sixteen years old. Nesbit baegan booking jobs in Broadway shows as a chorus girl.
Evelyn soon took up with famous architect Stanford White, who she met after a performance as Florodora girl. White, then 47 years old and married, became infatuated with the 16-year-old beauty. He was a notorious womanizer, his particular interest was in 'befriending' young teenage girls. Nesbit's mother encouraged the budding relationship, seeing as White was very in New York, and allowed Evelyn to pose for White under any terms (even though he often photographed her in suggestive clothing and poses). After one such session, White reportedly took Evelyn's virginity after getting her drunk on champagne. This would only spur on their relationship. White's notorious apartment -- installed with strategically-placed mirrors and a velvet red swing -- was a place Nesbit frequented.
After a few months, White sought younger, more 'innocent' girls and in the beginning of 1901 Evelyn began a relationship with 19-year-old John Barrymore. Like White, Barrymore met Evelyn after one of her Floradora shows. The now 17-year-old Nesbit became infatuated with Barrymore, often spending the hours she wasn't working at his Manhattan apartment. In 1902 and 1903 Evelyn even became pregnant twice by Barrymore -- the first she was forced to abort, the second, though most likely aborted, has long been rumored to have been carried to term where afterwards the child was given up for adoption). But Nesbit's mother and her former lover Stanford White strongly opposed to the young couple's romance, and worked hard to keep them apart until the relationship slowly died out.
Evelyn then moved on to Harry Kendall Thaw, an heir to a coal and railroad fortune. He came from Pittsburgh, Evelyn's home town, and quickly fell for her. Thaw was incredibly possessive of Evelyn, forcing her to reveal every detail of her past relationships (especially Stanford White, who Evelyn told Thaw he had raped her when she was 16), and carried a pistol with him whenever they went out together. A man fond of cocaine and whipping women and young boys, Thaw repeatedly proposed marriage to Nesbit, who for whatever reason agreed in 1905, marrying him that April when she was 20. In June of 1906, Nesbit and Thaw went to the restaurant the Cafe Martin and bumbed into Stanford White. They met again at Madison Square Garden when the three of them were attending Mam'zelle Champagne. During the performance of "I Could Love a Million Girls," Thaw shot White three times at close range in the face with his pistol, reportedly screaming "You ruined my life/wife!" and "You will never see that woman again!" At first the crowd thought the shooting was all part of the show, assuming it was a gag joke that was popular at the time, but soon it was discovered that White was really dead. Still holding the gun, Thaw walked back through the shocked crowd over to Evelyn. When she asked him what he had just done, Thaw said that he had "probably saved your life."
Though the exact reason for what triggered White's murder never came to light, not even during the case's two criminal trials, many have theorized. Nesbit testified on Thaw's behalf, claiming that he was avenging her honor after White had 'raped' her many years before. This has mostly been discredited because Nesbit testified only during the second trial after Thaw's mother promised Evelyn a quick divorce and tidy monetary settlement if she were to agree Thaw was temporarily insane. After Thaw was jailed (very laxly, though) Evelyn was cut off entirely by the Thaw family, never receiving a divorce settlement. After a modest career as a silent film actress and vaudeville performer, Evelyn found she couldn't escape her reputation as 'Harry K. Thaw's wife." She was plagued by depression in her later years, attempting suicide several times and develpoing addictions to alcohol and morphine. She married dancer Jack Clifford in 1916, only to be left by him less than two years later. They divorced in 1933. She spent her remaining time in New Jersey, doing ceramics and publishing several memoirs of her younger years.
Nesbit had one child, Russell William Thaw, who was born in Berlin in 1910 while Thaw was in jail. Though it seems impossible for Russell to have been the biological son of Harry Kendall Thaw, Evelyn insisted until her death that Harry was the father. Even after her claims at his murder trial, Evelyn would believe in her later years that 'Stanny' was the one man she had ever really loved.

images courtesy of flickr, corbis, and google images

you didn't care to know who else may have been you before

I was talking to one of my friends about Samantha Juste (who I just posted on the other day) and told her that my post on her came about because I had been watching something about the Monkees and felt inspired. She was practically appalled that I hadn't done a post on her (and apparently many Monkee-crazed peoples) favorite Monkee-wifee Phyllis Nesmith (w. Mike Nesmith).
Phyllis Ann Barbour was born into a military family in 1946 Manhattan. She and her three younger siblings (two brothers and a sister) moved around a lot as a child, living in Los Angeles, Germany, and eventually living in Texas three separate times. By her sixteenth birthday, Phyllis was already in college in San Antonio, majoring in Journalism and English. While at school, she met Mike Nesmith who was three years her senior. Nesmith later claimed love-at-first-sight, saying, "when I met Phyllis, I had a feeling that I had never experienced before...I was so sure she was the girl for me that I asked her to marry me before I ever asked her for a date," though unfortunately for Mike, Phyllis was already seeing someone else. They later crossed paths again and began seeing each other quietly. When she was seventeen and Mike was twenty, she discovered that she was pregnant, and she and Mike were soon after married in March 1963. Phyllis had a son, Christian, that next January. Of married life, Mike said (in 1968) "since I've been married I have been a complete person. Before I think I was a half-person. Phyllis now makes up my other hald and makes me whole."

In 1964 the newlyweds left San Antonio for Los Angeles, where Mike was working as one-half of a folk duo with John London. For about a year, the family lived with hardly any money to spare, up until Mike was cast as 'the guitarist in the wool cap' in "The Monkees" in early 1966 and experienced practically overnight success. Of her husband's newfound fame, Phyllis said "I was along for the ride; I happened to be married to someone who was in that position... I think it was very tough... I think it was hard to have a normal life and maintain some stable values. You have a loss of privacy and a distortion of personal identity."

By early the next year, the Nesmiths were both truly celebrities and living like ones. They lived in a Hollywood Hills mansion and dipped their toes in the crazy (i.e. drug-fueled, wild, fast-paced, generally awesome) atmosphere that was available to them with fame, whereas the others seemed to dive head first. "Naturally," of fame, Phyllis said, "there was some interesting byproduct - the fame and money... none of which were particularly important to me." Unlike the other Monkee wives and girlfriends, fans were not envious or hateful of Phyllis - they actually celebrated her, calling her the ideal wife and mother to her family. A regular in magazines like "16," which featured her latest wardrobe choices, 'exclusive' beauty tips, and cast her as a role model to young girls, Phyllis became famous in her own right (though still for being wife to a Monkee). Mike and Phyllis went to London in early 1967, being invited to stay at the home of John and Cynthia Lennon (it was during this time John was recording Sgt. Pepper, where the Monkees would occasionally pop in at sessions). They would go to England again during that summer when the Monkees were on tour, and it was during this trip that she became pregnant with their second child, Jonathan, born early February of the next year. In lte '67, Phyllis got into an awful car accident in the Hollywood Hills off of Mulholland Drive, crashing one of Mike's cars (some report it was a Mercedes, other say it was Mike's new Lamborghini). She was rushed to her home after sustaining serious injuries. Despite this, she never went to the hospital. Her faith in Christian Science did not allow her to seek medical attention, instead using her faith in God for recovery. Today, the only physical thing that remains from the accident is a scar that runs across her right cheek.

It was during this time that Mike had an affair with Israeli-born, Californian-based rock music photographer Nurit Wilde (who also appeared in two episodes of "the Monkees"), who gave birth to his third son, Jason, in August of 1968. Despite his infidelity, Mike and Phyllis stayed together (in the legal sense). She moved with Christian and Jonathan back to Texas for nearly a year before going back to Mike, but their marriage remained rocky. She had a third child (Mike's fourth), a daughter Jessica, in 1970, but this did not keep them from divorcing in 1975/1976. After their marriage ended, Phyllis had to adjust to being a single mother and in need of a job for the first time. She has been involved in political public relations (working for various senators and other public politicians) since the mid-1970s.

you've gone to the finest school all right, miss lonely, but you know you only used to get juiced in it

Edie Sedgwick, Part Two
WHEN ANDY MET EDIE
It was in early 1965 that Edie met Andy Warhol, at Lester Persky’s apartment. A few weeks later Sedgwick and Wein began frequenting the Factory at the apex of the romantic and still-new Warhol image. Her first film with Warhol was “Horse,” a quick cameo of sorts of her entering the Factory doors at the end. After that was “Vinyl,” an otherwise all-male imagining of “A Clockwork Orange” that Warhol stuck Edie into at the last minute (much to Gerard Malanga’s annoyance). In March they filmed “Poor Little Rich Girl,” a film that would become synonymous with Sedgwick’s persona. Part of the ‘saga’ including “Restaurant,” “Face,” and “Afternoon,” “Poor Little Rich Girl” featured Edie in her apartment as she’s waking up, applying her makeup, listening to albums, trying on clothes, making plans for the evening, smoking cigarettes, and talking about how she spent her entire inheritance in six months. In April, 1965, Edie (now “the queen of the Factory”) accompanied Warhol (and Gerard Malanga and Chuck Wein) to Paris for an exhibit of Warhol’s work. Following their return, Warhol requested from Factory screenwriter Ron Tavel a script for Edie, “something in a kitchen. White and clean and plastic.” Warhol got exactly what he asked for, “Kitchen” starring Edie with Rene Ricard and Roger Trudeau was the result. After “Kitchen,” Chuck Wein replaced Tavel as writer/assistant director for “Beauty No. 2,” a film with Gino Piserchio that some consider to be her finest work with Warhol. The film, featuring Sedgwick kissing Piserchio only to keep being interrupted by an ominous voice’s aggressive and prying string of questions (courtesy of Chuck Wein), earned the underground star comparisons to Marilyn Monroe. By now, Warhol had long dubbed her his ‘superstar’ and the pair were often seen together around New York, at both classy socialite events and dingy downtown clubs. With Edie on his arm, Warhol was introduced to a new level of publicity and fame, eventually being welcomed into the wealthy world of upper New York.
Sedgwick was now one of the most popular girls in New York, embodying the edgy “now” image associated with Warhol, but also combined with her refined, upper-class upbringing. Her appearances in Warhol’s films were earning her a following; her trademark shoulder-duster earrings, cropped platinum hair (done to resemble Warhol), and wardrobe of black tights, leotards, and mini dresses (worn to ‘defy’ her upbringing and her parents) were becoming quite fashionable among girls who were both lanky like Edie, and some that weren’t really but just liked to pretend they were. She appeared in the August 1965 issue of Vogue, where Editor Diane Vreeland dubbed her a ‘youthquaker,’ and in the September issue of Life magazine in a fashion spread. Warhol had requested for Lou Reed of the Factory band The Velvet Underground to write a song about Edie, saying ‘oh, don’t you think Edie’s a femme fatale, Lou?’ The result was the Nico-sung ballad “Femme Fatale.” Throughout the rest of 1965, Edie continued to make films with Warhol, including “Prison,” “Outer and Inner Space,” “Chelsea Girls,” and her last official film for Warhol, “Lupe.” But by late 1965, Sedgwick and Warhol’s relationship had grown distant, namely because of Edie’s growing connection with the Dylan camp and her dissatisfaction over Warhol not paying or rewarding her in any way for her work. While out, Edie had always customarily picked up the tab; after months of paying for the Factory gang without seeing any profit from the films she made and the celebrity she experienced, she felt taken advantage of, not believing when Andy would say that his films weren’t commercial and made no money. She requested that Warhol not show any of her films again and for the footage of her in “Chelsea Girls” to be edited out (it would be replaced with a trippy lights sequence of Nico with Velvet Underground music playing in the background).

*Stay tuned for more Edie-entries*

and she aches just like a woman, but she breaks just like a little girl

Edie Sedgwick, Part One In an anticipatory celebration of this Monday (April 20), which would have been her 66th birthday, I will be doing a series of posts about the life of Edie Sedgwick. I have had a long-held fascination with her -- her iconic style and troubled life, her famous relationship with Andy Warhol and her sensationalized one with Bob Dylan. She was the odd combination of a vulnerable innocent and someone who has seen the ugliest ends of the Earth. The fact that despite how many people have published books, blogs, articles, and films around her, Edie Sedgwick can still remain a mystery is astonishing. Her life has been plagued by ugly lies and, at times, uglier truths. I hope that my entries can help you understand (even if only a little bit) her life, and, even if it doesn't, I hope that it at least piques your curiosity in her.
There have been many (false) stories spread about Edie that are considered truths in her life. One is that Andy Warhol was responsible for her drug addiction, introducing her to drugs and then disposing of her once she had served her purpose to him. Another is that she had an affair with Bob Dylan, who convinced her to leave Warhol and the Factory behind to become a Hollywood star and then proceeded to toss her aside just as Warhol had, telling her he would put her in a film with him that he was never really planning to make.
As opposed to the oft-told story of Warhol using-and-abusing Sedgwick, it seems that Sedgwick’s choice to break away from the drug-addled reputation of the Warhol group was closer to the truth. The length of their friendship is also over-exaggerated at times; their relationship, though probably very intense and connected, lasted only eleven months (March 1965 to February 1966). The reason for Andy’s later dismissive treatment of a mention of Edie was probably because he felt something akin to a jilted lover, still bitter from a partner leaving him. He said in his autobiography that what he felt for Sedgwick was “probably close to a certain kind of love.” He used the name “Taxi” for Edie, a name he had used for her previously in his 1968 novel “a, A novel,” but despite the guise his love for Edie still shines through. He describes how magnetic and wonderful she was, saying she was the “one person in the 60s [who] fascinated me more than anybody I had ever known,” but describes how she “drifted away from us after she started seeing a singer-musician who can only be described as The Definitive Pop Star – possibly of all time – who was then fast gaining recognition on both sides of the Atlantic as the thinking man’s Elvis Presley.” To Warhol, Bob Dylan stole Edie, his Edie, away. In the chapter entitled ‘Love (Prime) – The rise and fall of my favorite sixties girl’ Warhol admitted a humble but ultimately unsuccessful truth: “I missed having her around, but I told myself that it was probably a good thing that he was taking care of her now, because maybe he knew how to do it better than we had.”

EARLY LIFE
The tragic story of Sedgwick’s short life has just compounded her “Poor Little Rich Girl” persona. Born the 7th of eight children into a mentally unstable, socially important family (her great-great-great grandfather was a signer of the Declaration of Independence) in Santa Barbara, Edith Minturn Sedgwick was born on April 20, 1943. Because of her father Francis’s history of mental breakdowns, a doctor advised Francis (Fuzzy) and his wife Alice that they shouldn’t have children. Edie admitted during the 60s that as a child both her father and two of her brothers had tried to sleep with her but she turned all of them away. Her first real encounter with drugs of any form came after she found her father cheating on her mother with a neighbor. After she tried to tell her mother what she witnessed, her father told her that she was crazy and called a doctor who “gave me so many tranquilizers I lost all my feelings.” Edie was first institutionalized during the fall of 1962. She suffered from anorexia while in school (a disease which would plague her until the end of her life) and, like her brother Minty, was placed in the Silver Hill mental hospital (Minty would live there until the end of his life when in 1964 he committed suicide; another brother Bobby was institutionalized in Manhattan and died early January 1965 after a motorcycle accident left him in a coma since New Years Eve, 1964). Her anorexia persisted while she was at Silver Hill, getting to the point where she weighed a dangerously low ninety pounds, and she was moved to the far stricter Bloomingdale hospital. Toward the end of her stay at Bloomingdale, Sedgwick became pregnant and had to have an abortion.
In the fall of 1963 Edie was released from Bloomingdale and moved to Cambridge to attend Radcliffe College, where she began hanging out with Ed Hennessy, “a kind of deliberately outrageous dandy,” and Chuck Wein, a recent graduate of Harvard who had “come back to bum around.” She left Cambridge soon after her twenty-first birthday, moving into her grandmother’s Park Avenue apartment in 1964, with Chuck Wein also moving to Manhattan as well. Edie’s friend at the time recalled that in their early New York days Wein “would be plotting out the next move of their strategy, whom he was going to introduce to Edie that night, what they could do for her. Chuck had a real promoter’s vision about her; he knew that she had this quality but that she was totally disorganized and wouldn’t be able to pull it off herself…so he took over her life.”

*Stay tuned for the continuing story of Edie Sedgwick*

geez-la-haven't-written-anything-in-a-long-time-weez!

so. my baby is a tank now. he is 7 months. 20 lbs. got two teeth. is a super-crawler. knows how to pull himself up. and stand by himself. and sadly, throw fits. i am so super proud of him. i could never have asked for a better little man.

miguel and i have been doing really good. and when i say really good, i mean we have been arguing up and down! but, it's the kind that we actually accomplish things and are learning more and more how to have a successful marriage. i never ever would have thought we would be so involved in church and going to small groups and all that jazz. it is so much fun. i have made so many friends. and i have never been so proud of miguel. or myself, for that matter. anyways. blahblahblah.

the only thing i have been super stressed out about is that my BFF was supposed to have her little girl in MAY. but, she got diagnosed with pre-eclampsia and two days later...there was Mackenzie after and emergency c-section and Val fighting for her life. (her bp caused her liver & kidneys to start shutting down. her blood wasn't clotting...etc.) the baby is doing great. she is so beautiful. val....well, she isn't out of the woods yet. her blood pressure keeps going up randomly and she is so tired. i love her so much. i am so worried about her. and josh...man, he is just beside himself. he is so tired and so scared. i feel so helpless to do anything. the best i can do is give them to God.... PLEASE PRAY!

there are some other things that are also on my heart. i am having such a hard time with one of my mentors. i feel as though this person let me down. they are not acting like they taught me. i feel so confused bc i looked up to this person so much. what do i say? what do i do? how can i tell them that they let me down? HELP! ADVICE?

and all i gotta do is act naturally

I have talked about the many accomplishments of Peggy Lipton's life here briefly before. Recently I picked up a copy of her memoir Breathing Out, hoping that there were even more great secrets about this beautiful sixties star than I knew before. As I read her account of her years growing up, I found out there were many more secrets about Ms. Lipton -- but too many of them were great ones. She was born into a wealthy, Jewish, Long Island family where she was sexually abused as a young girl. She began her modelling career at sixteen with the Ford Modelling Agency before moving out to Los Angeles in 1964 to sign a contract with Universal Studios. Like many children of abuse, she became promiscuous, sleeping with a string of musicians, actors, alcoholics, and married men. She was admittedly "rapaciously romantic." In 1966 she slept with Paul McCartney when he was in California on tour with the Beatles.
Soon after moving to LA, she wast cast as a schoolgirl in the sitcom "The John Forsythe Show" and the Civil War-set "Mosby's Marauders" where she played sister to Kurt Russell. In 1968 she was cast as the beautiful-but-troubled Julie Barnes in "The Mod Squad." Her role as the prettiest undercover cop of the Haight-Ashburty area cast Lipton in the real-life role as the hippie child role model to the greater America. With her long blonde hair, fresh face, and hip clothing, Lipton became both the image of the mod girl and the flower girl during the late sixties. During its five-year run, "The Mod Squad" nabbed Lipton four Golden Globe nominations and one win in 1971 for Best TV Actress in a Drama.
Her sudden celebrity introduced her to a whole new world of people. She had a brief singing career, and an even briefer dalliance with Sammy Davis Jr., who she also recorded a duet with. In addition to McCartney and Davis Jr., Lipton also had, erm, encounters with Keith Moon and Terence Stamp, who she experimented with drugs with. Also on the list was Elvis, who Lipton said "was a great kisser but that was about it." As a way to move past her need for drugs and men, Lipton looked toward religion for a solution. She became involved with Hinduism and Scientology, which she tried to persuade Elvis to join and is still involved with today.
While still with Sammy Davis Jr., Peggy met Quincy Jones in 1974, a then-married musician/producer who immediately fell in love with her. They wed later on that same year and Lipton went on a self-imposed retirement at Quincy's request in order to become a full-time mom to daughters Kidada and Rashida Jones. Their interracial marriage caused controversy for some. Lipton said that when out at night with her husband, they were often pulled over by the police because they assumed that a white woman who was in a car with a black man could only be either a prostitute or a kidnapping victim. Quincy and Peggy were married for sixteen years until their marriage fell apart in 1990. Their marriage had been strained since the late 80s following Quincy's increasingly-demanding career and her growing interest in her faith. After their divorce, Lipton said she struggled with deep depression and dehabilitating fatigue. She eventually found strength from her two daughters, her return to acting (she has had roles on "Twin Peaks" and "Alias"), and her guru Gurumayi. She has remained good friends with her ex-husband, even collaborating with him on Jones's book "Q: The Autobiography of Quincy Jones."
Her book ends on a more somber note as just before "Breathing Out" was going to press, Lipton was diagnosed with colon cancer. She has since undergone treatment and the cancer seems to be in remission.
I really enjoyed Lipton's autobiography and recommend it for anyone who enjoys a pleasant look back at California during the sixties and seventies. During Peggy's journey, she has met many famous people along the way, but never in her book does she make it seem like she's just name-dropping so that everyone knows how important she is. She could've been talking about Steve-the-homeless-man-she-met-on-the-street and it still would've been just as charming as when she talks about Kurt Russell.

The opening theme to the Mod Squad:
http://www.youtube.com/watch?v=kd85Qim_Z6A
Singing a duet with former flame Sammy Davis Jr:

http://www.youtube.com/watch?v=XvG9NcilVVY