My Celebrity Crush: Justin Timberlake


A Message From The Creator


Inspiration Of Motherhood


By Kimberly Seabrooks

To Work or Not to Work: The View of Working Mothers

Being a mother is difficult, especially when it comes to the finances. It seems there is no right answer. If you work, you’re condemned as a bad mother. If you don’t work, you’re condemned for scrounging off the state. At least, that’s what it seems. What is the real view of working mothers?

The Majority of Moms Support Working Mothers

The truth is that the majority of moms will support working mothers; even the stay-at-home mums support it. They understand the financial need to get back into the workplace. They also understand that working is needed to keep skills up to date. Those who tend to look down are jealous that they don’t have the same opportunities.

The View from Employers

This is where it becomes tricky. While employers can’t discriminate against working mothers, they may have their reservations. It isn’t because a working mother can’t do her job. It’s because of the unplanned days off that a mother may need to take. A child may be sick or the school may be closed for the day. It causes a problem for the business and it’s understandable.

However, this view is only for working mothers; not for working fathers. It seems that there is still that one-sided view that women should be at home looking after children. The truth is that men may have to take the same time out of work if something happens to their child!

How the Rest of the Population View Working Mothers

It’s a mixed view from the rest of the population. Most are happy that these mothers are making their own money instead of claiming benefits but there is also the pressure on childcare. The issue isn’t the fact that the mothers are working but that the government is doing more to help them. Child benefit has become means tested for the first time since its introduction after World War Two and there is state help for working parents for childcare. Stay-at-home parents and people without children start to view this as a double standard.

Working mothers are become more widely accepted in the world. People understand that mothers need to return to work for the finances. The negative views are really on the government for creating a double standard and from employers who are worried about problems with their business.

RIP Eydie Gorme


LOS ANGELES (AP) — Eydie Gorme, a popular nightclub and television singer as a solo act and as a team with her husband, Steve Lawrence, has died. She was 84.

Gorme, who also had a huge solo hit in 1963 with “Blame it on the Bossa Nova,” died Saturday at Sunrise Hospital in Las Vegas following a brief, undisclosed illness, said her publicist, Howard Bragman.

Gorme was a successful band singer and nightclub entertainer when she was invited to join the cast of Steve Allen’s local New York television show in 1953.

She sang solos and also did duets and comedy skits with Lawrence, a rising young singer who had joined the show a year earlier. When the program became NBC’s “Tonight Show” in 1954, the young couple went with it.

They married in Las Vegas in 1957 and later performed for audiences there. Lawrence, the couple’s son David and other loved ones were by her side when she died, Bragman said.

“Eydie has been my partner on stage and in life for more than 55 years,” Lawrence said in a statement. “I fell in love with her the moment I saw her and even more the first time I heard her sing. While my personal loss is unimaginable, the world has lost one of the greatest pop vocalists of all time.”

Although usually recognized for her musical partnership with Lawrence, Gorme broke through on her own with the Grammy-nominated “Blame it on the Bossa Nova.” The bouncy tune about a dance craze of the time was written by the Tin Pan Alley songwriting team of Barry Mann and Cynthia Weil.

Her husband had had an equally huge solo hit in 1962 with “Go Away Little Girl,” written by the songwriting team of Gerry Goffin and Carole King.

Gorme would score another solo hit in 1964, but this time for a Spanish-language recording.

Gorme, who was born in New York City to Sephardic Jewish parents, grew up speaking both English and Spanish. When she and her husband were at the height of their career as a team in 1964, Columbia Records President Goddard Lieberson suggested she put that Spanish to use in the recording studio.

The result was “Amor,” recorded with the Mexican combo Trio Los Panchos.

The song became a hit throughout Latin America, which resulted in more recordings for the Latino market, and Lawrence and Gorme performed as a duo throughout Latin America.

“Our Spanish stuff outsells our English recordings,” Lawrence said in 2004. “She’s like a diva to the Spanish world.”

Gorme and Lawrence, meanwhile, had an impressive, long-lasting career in English-language music as well, encompassing recordings and appearances on TV, in nightclubs and in concert halls.

Throughout it, they stuck for the most part with the music of classic composers like Berlin, Kern, Gershwin, Cole Porter, Rodgers and Hammerstein, and other giants of Broadway and Hollywood musicals. They eschewed rock ‘n’ roll and made no apologies for it.

“People come with a general idea of what they’re going to get,” Lawrence said of their show in a 1989 interview. “They buy a certain cereal, and they know what to expect from that package.”

Soon after their marriage, the pair had landed their own TV program, “The Steve Lawrence and Eydie Gorme Show,” which was a summer replacement for Allen.

Not long after that, however, Lawrence entered the Army, and Gorme went on the nightclub circuit as a soloist until his return to civilian life two years later.

After his discharge, Lawrence and Gorme quickly reteamed, and their careers took off.

They appeared at leading nightclubs in Los Angeles, Chicago, New York and Las Vegas, combining music with the comedy bits they had learned during their apprenticeship on Allen’s show.

With nightclubs dwindling in popularity in the 1980s, they moved their act to large theaters and auditoriums, drawing not only older audiences but also the Baby Boomers who had grown up on rock ‘n’ roll.

Gorme, who was born Aug. 16, 1928, began to seriously consider a music career while still a student at William Taft High School in New York City’s borough of the Bronx, where she had been voted the “Prettiest, Peppiest Cheerleader.”

After graduation, she worked as a Spanish interpreter for a time but also sang on weekends with the band of Ken Greenglass, who encouraged her and eventually became her manager.

Her first big break came when she landed a tour with the Tommy Tucker band, and she followed that up with gigs with Tex Beneke, Ray Eberle and on radio and television. Among her radio appearances was one on a Spanish language show, “Cita Con Eydie (“A Date with Eydie”), which was beamed to Latin America by Voice of America.

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