
We also lost Robin Morgan this week
(January 29, 1941 – September 5, 2026) was an American poet, writer, activist, journalist, lecturer and onetime child actor. From the early 1960s on, she had been a key radical feminist member of the American Women’s Movement, and a leader in the international feminist movement. Her 1970 anthology Sisterhood Is Powerful was cited by the New York Public Library as “One of the 100 Most Influential Books of the 20th Century”. She wrote more than 20 books of poetry, fiction, and nonfiction, and was the editor of Ms. magazine.
During the 1960s, Morgan participated in the civil rights and anti-Vietnam War movements; in the late 1960s, she was a founding member of radical feminist organizations such as New York Radical Women and W.I.T.C.H. She founded or co-founded the Feminist Women’s Health Network, the National Battered Women’s Refuge Network, Media Women, the National Network of Rape Crisis Centers, the Feminist Writers’ Guild, the Women’s Foreign Policy Council, the National Museum of Women in the Arts, the Sisterhood Is Global Institute, GlobalSister.org, and Greenstone Women’s Radio Network. She also co-founded the Women’s Media Center with activist Gloria Steinem and actor/activist Jane Fonda. In 2018, she was listed as one of BBC’s 100 Women.
At the age of five she got her own radio program, titled Little Robin Morgan, on the New York radio station WOR. She was also a regular on the original network radio version of Juvenile Jury. Her acting career took off when she was eight and started in the TV series Mama, as Dagmar Hansen, the younger sister in the family depicted in the series. The show premiered on CBS in 1949, starring Peggy Wood, and was a great success. Morgan played Cecchina Cabrini in Citizen Saint (1947).
During the Golden Age of Television, Morgan starred in such “TV spectaculars” as Kiss and Tell and Alice in Wonderland, and guest starred on such live dramas as Omnibus, Suspense, Danger, Hallmark Hall of Fame, Robert Montgomery Presents, Tales of Tomorrow, and Kraft Theatre. She worked with directors such as Sidney Lumet, John Frankenheimer, Ralph Nelson; writers such as Paddy Chayefsky and Rod Serling; and performed with actors such as Boris Karloff, Rosalind Russell, Bill “Bojangles” Robinson, and Cliff Robertson.
Having wanted to write rather than to act since she was four, Morgan fought her mother’s efforts to keep her in show business, and left the cast of Mama at age 14. Over the years Morgan’s articles, essays, reviews, interviews, political analyses, and investigative journalism have appeared in publications worldwide. She is also an accomplished author, having published 21 books, including works of poetry, fiction, and the now-classic anthologies Sisterhood Is Powerful, Sisterhood Is Global, and Sisterhood Is Forever. Well before she was known as a feminist leader, literary magazines published her as a serious poet. She passed away yesterday at the age of 85.
Following her death, The New York Times noted Morgan as the “face of radical feminism” whose works helped build the “institutions of the modern feminist movement”. The Associated Press mentioned how Morgan “embodied and inspired historic changes in how women lived and thought”. She was also regarded as the architect of the modern women’s movement.







Clara Gordon Bow (1905-1965)
Clara was an American actress who rose to stardom during the silent film era of the 1920s and successfully made the transition to “talkies” in 1929. Her appearance as a plucky shop girl in the 1927 film “It” brought her global fame and the nickname “The It Girl”. Bow came to personify the Roaring Twenties and is described as its leading sex symbol.
Bow appeared in 58 films, all but 11 of which were silent. Thirty-three are extant in their entirety, 14 are partially lost, and 11 are completely lost. Some hits include “Mantrap” (1926) and “Wings” (1927). She was named the first box-office draw in 1928 and 1929 and the second box-office draw in 1927 and 1930. Her presence in a motion picture was said to have ensured investors, by odds of almost two-to-one, a “safe return”. At the apex of her stardom, she received more than 45,000 fan letters in a single month, in January 1929.
Bow dreaded the transition to sound in films, as she never lost her Brooklyn accent and speech patterns, and was convinced that the new technology would be the end of her career. The studio arranged a special public appearance for her when the “talkie” version of The Wild Party opened at the 4,200-seat Brooklyn Paramount Theater. She addressed the cheering crowd in her hometown neighborhood jargon, “I hope youse all prouda me”. Both the audience and the news media gave her rave reviews for her first sound movie.
After marrying actor Rex Bell in 1931, Bow retired from acting in 1933. Her final film, Hoop-La, was released in 1933. She then became a rancher in Nevada and had two children.
Bow died of a heart attack at the age of 60.
And a damn shame that most of her films were lost. Here’s a complete list HERE in case anyone out antiquing happens across a copy of any of them






































