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Another jogger who was carrying a flashlight and a handgun heard the victim scream and ran over to help.
The affidavit said the jogger told police he shined his light in the direction of the screams and saw the victim on her back and the attacker on his left side on top of the victim.
The jogger pointed his gun at the suspect and demanded he get off the victim. The attacker stood up and was naked from the waist down, the affidavit said.
Lillian Ross, one of the old-time New Yorker writers. She was 99.
I didn’t grow up reading her work, but I was passingly familiar with her from her book Picture. Ms. Ross followed John Huston while he was making “The Red Badge of Courage” and wrote about the production. Which, oddly enough, turned out to be deeply troubled.
Julie Salamon cites Picture as a major influence for her own classic book, The Devil’s Candy: The Anatomy Of A Hollywood Fiasco. It’s kind of interesting to contemplate these two books. Neither Ms. Ross (as far as I know) or Ms. Salamon (who explicitly states this in her forward) intended to write books about troubled movies. Both of them just simply wanted to document the process of making a Hollywood film: what was it like to do this in the 1950s, and what was it like in the 1980s? It’s odd that both movies turned out the way they did. And it’s interesting that nobody else has tried doing this in the last 25 years.
Bernie Casey, NFL wide receiver (for the San Francisco 49ers and the LA Rams) turned actor (“I’m Gonna Git You Sucka”).
For Mr. Casey, who also published books of poetry, the arts always came first. He considered football a steppingstone, but many viewed him as an athlete.
“It was just a gig,” he told The Washington Post in 1977 about football. “But it limits the way people perceive you. That can be frustrating. People have tremendous combinations of talents. A man can be a deep-sea diver and also make china.”