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The Monday Morning Memo

Vamp: Style 2
Seen by more than 7.5 million online viewers

Name: Greg Craven
Age: 39

A self-described “high school science teacher in the process of burning out.”

Interests and Hobbies: My two young daughters. Before that: hang gliding, reading, hiking, guitar, harmonica, travel in Asia.

Movies and Shows:
Ze Frank's The Show, Al Bartlett's Arithmetic, Population, and Energy

Books:
Vonnegut (so it goes. . .), Douglas Adams, Edward Abbey, P.J. O'Rourke, Stephen Colbert.

NOTE: Calm vamping – such as you'll see in the segment below – is less effective than the spirited, head-over-heels vamping illustrated by Robert Preston in The Music Man “right here in River City,” and other classic vamps.

Sure, you risk looking like a fool when you put your whole heart into vamping, but it seems to have worked out pretty well for Don King, Ron Popeil, Billy Mays and Glenn Beck.

Greg Craven (below) is doing his best and he's definitely making a difference, but can you imagine what Glenn Beck would do if he switched sides? Enormous money and frightening influence are at the fingertips of every successful vamp. (Poodles, frankly, are fairly easy to find.)

 

 

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Random Quote:

“MARION CAPRON: What kind of work did you do at Vogue?

DOROTHY PARKER: I wrote captions. This little pink dress will win you a beau, that sort of thing. Funny, they were plain women working at Vogue, not chic. They were decent, nice women – the nicest women I ever met – but they had no business on such a magazine. They wore funny little bonnets and in the pages of their magazine they virginized the models from tough babes into exquisite little ones. Now the editors are what they should be: all chic and worldly; most of the models are out of the mind of Bram Stoker, and as for the caption writers – my old job – they're recommending mink covers at seventy-five dollars apiece for the wooden ends of golf clubs – for the friend who has everything. Civilization is coming to an end, you understand.”

- from an interview published in the Paris Review, 1956

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