TERRIFIC POST!!.....thanks for taking the time

The messages you are viewing are archived/old.
To view latest messages and participate in discussions, select the boards given in left menu

to share such good tips with all of us. 

a kind word and encouragement.  I know there are others much worse off and I know too I'll get through this.  This time of year has always been tough for me since my parents died and I've really been working on putting on a happy face for my family despite how I feel, but just couldn't do it today. 

That is good advice, but I don't know if I can give them 30 days notice because another 30 days of them and I'll end up in a padded cell.  I'm thinking more like two weeks, which to me seems fair, especially considering if they found someone else to do the work for less, they wouldn't even give me a day's notice, right?

Thanks again!

I think too many times IC's are treated like employees.  The OP is an IC and has a set schedule?   If you have a set schedule (no freedom), you should be deemed an employee and given PTO days, etc.  IC's should not be made to let anyone know anything.    Two weeks is an extended amount of time and out of courtesy she should let her "client" even if that is an MTSO know in advance that she will not be available to work those two weeks.  As for toting a laptop on vacation, not me!  The whole idea of a vacation is to relax and not have to worry about typing.  Most physicians do understand that you need a vacation.  They will cut you some slack.  Not sure about a two week period though.  Someone with their own accounts that wants to take off extended periods of time (more than one week) should probably find someone to "cover".    I have also found in this profession that transcriptionists do not trust others as they could try to steal their accounts if they were to take time off leaving the account in someone else's hands literally.  All the more reason to network and find someone trustworthy who will scratch your back and you in turn scratch their back when needed.  Tit for TAT so to speak but at a fair price.

I am so burnt out that I am seriously contemplating just taking the summer off.  Does anyone have any opinions on how this would hurt me come fall and job searching.  I have a job at the present time working IC that I absolutely am not enjoying.  I have tried to give it some time but it has been since November and I have not fallen in love with the job yet. 

I am wondering how will look on a resume in the fall to have a 3- or 4-month gap in my resume.  I have 8 years experience and I am sure I would have no trouble getting back in to it, perhaps with a refreshed attitude?  Has anyone done this, and how was the job search afterwards?

Thanks for any advice. 

I really do appreciate it. 

DixieKaye

Transcend does not offshore and they are sponsors of MTStars.

Administrator

has accomplished A LOT through adversity.    And you are to be commended for your role in his accomplishments! 

Does the school know his background? Someone at the university should be able to direct you on how he can stay in school.

Whatever path he takes from here, I wish you both good luck and continued success!

By Adam Bernstein
Washington Post Staff Writer
Sunday, January 15, 2006; C09

Shelley Winters, 85, a brassy actress and raconteur who appeared in more than 120 films and twice won the Academy Award for supporting performances, died Jan. 14 at a rehabilitation center in Beverly Hills, Calif. She had been hospitalized in October after suffering a heart attack.

Ms. Winters won her Oscars for "The Diary of Anne Frank" (1959), as the sloppy and nervous Mrs. Van Daan, and for "A Patch of Blue" (1965), in which she was one of the true screen vultures, mercilessly abusing her blind daughter (played by Elizabeth Hartman).

Her last Oscar nomination was for "The Poseidon Adventure" (1972), the much-lampooned all-star drama about an overturned luxury liner. Despite her girth, she played a former swimming champion who tries to take others to safety.

Acknowledging the film's rich potential for parody, she appeared on "The Flip Wilson Show" in a skit set in a fast-flooding laundromat. She led the cast in a daring escape through a washing-machine hatch.

At first a peroxide-dyed "blond bombshell," Ms. Winters was typecast for years as a gangster's moll and dance-hall dame. She once joked of her tendency to perish as a sinner or martyr, writing in a memoir: "I had been strangled by Ronald Colman, drowned by Montgomery Clift, stabbed and drowned by Robert Mitchum, shot by Jack Palance and by Rod Steiger in two different films and, oh yes, overdosed with heroin by Ricardo Montalban."

By the late 1950s, Ms. Winters had carved out a successful career in character parts -- the brash and frowzy secondary roles that she said would sustain her career as she aged.

She once called the role of Charlotte Haze, the mother of a teenage vamp in "Lolita" (1962), "one of the best performances I ever gave in any medium. She is dumb and cunning, silly, sad, sexy and bizarre, and totally American and human."

In her later years, Ms. Winters appeared on talk-show programs to detail her indulgences with the leading men of Hollywood's golden age.

She also wrote two kiss-and-tell memoirs, in which she counted among her amorous conquests Errol Flynn, William Holden (they had an annual Christmas Eve rendezvous), Sean Connery, Burt Lancaster and Marlon Brando.

She said Brando invited her to the set of "A Streetcar Named Desire," locked her in his trailer and began to simulate violent lovemaking by shaking the room, pounding the walls and screaming with delight.

Ms. Winters wrote that she found this silly, adding: "When I refused to yell loud enough for him, he whispered, 'You're not helping my image enough. For God's sake, you studied voice projection. Use it!' "

Shirley Schrift was born Aug. 18, 1920, in St. Louis and moved to Brooklyn, N.Y., when she was 9. One of the most stinging memories of her youth was seeing her father jailed for setting his men's store on fire to collect insurance money. Much later, he was exonerated, she said.

"I developed a whole fantasy world during my childhood," she wrote. "Reality was too unbearable. This ability to fantasize has been a powerful tool in my acting."

After winning local beauty contests, Ms. Winters left school to model dresses. She also was a nightclub dancer and appeared in summer stock.

She wrote of having more gumption than talent early on. During a nationwide scouting hunt to find the ideal Scarlett O'Hara for the film "Gone With the Wind," she told the casting agent with a Brooklyn accent, "Lawdy, folks, I'm the only goil to play Scarlett."

She won small parts on Broadway that led to a film contract with Columbia studios. When Columbia let her contract run out, she called Garson Kanin, a casual acquaintance then directing his play "Born Yesterday" on Broadway. She asked to be understudy to star Judy Holliday. Instead, Kanin told her to look up film director George Cukor, who was casting for the doomed waitress in a movie script Kanin had co-written.

The film was 1947's "A Double Life," and it would provide Ms. Winters with her first notable part. She played the mistress and unwitting Desdemona to a psychotic Shakespearean actor (Ronald Colman). Colman won the Oscar that year, and the film's overall acclaim brought much attention to Ms. Winters's talents.

Then under a long contract at Universal studios, she was rushed into a series of forgettable musicals and gangster melodramas. Periodically, she grabbed better assignments as a freelancer. Among her notable work was playing Myrtle Wilson in "The Great Gatsby" (1949) with Alan Ladd, and a hostage who develops romantic feelings for thug John Garfield in "He Ran All the Way" (1951).

Ms. Winters wanted badly to do a big-budget picture, and she devoted her time to pursuing one of the most sought-after roles in Hollywood: a mousy factory worker impregnated by social-climber Montgomery Clift in "A Place in the Sun."

Desperate to prove her ability beyond what she called blond bombshell publicity, Ms. Winters showed up for her first meeting with director George Stevens looking so meek and pathetic that he didn't recognize her.

He was so pleased with her immersion in the character that he offered her the role immediately. Ms. Winters, who received her first Oscar nomination in the part, later called Stevens the best director she had known. They worked again on "The Diary of Anne Frank," when she recalled Stevens playing the song "Purple People Eater" to loosen up the cast after tense scenes.

By the mid-1950s, she was veering into scene-stealing secondary roles, such as the secretary and mistress to Paul Douglas in "Executive Suite" (1954); a trampy actress who gets murdered in "The Big Knife" (1955), starring Jack Palance; and a widow who falls victim to a murderous preacher, played by Robert Mitchum, in "The Night of the Hunter" (1955).

"Mitchum, who was and is famous for playing jokes and kidding around on the set, was contained and serious throughout the filming," she later wrote. "Charles Laughton directed the film slowly and carefully. And we knew when we saw the first rushes that we were part of something classic and timeless. 'Night of the Hunter' is probably the most thoughtful and reserved performance I ever gave."

Ms. Winters studied acting with Laughton but also was a follower of the "Method," a naturalistic performance style in which actors plumb their own lives for motivation.

When her studio contract expired, Ms. Winters revived her stage career. She won praise as a heroin addict's wife in Michael V. Gazzo's drama "A Hatful of Rain" (1955).

Critic Brooks Atkinson wrote of Ms. Winters in the New York Times: "She is simple, aware of all that is going on around her, good-humored and full of compassion and decision when the last scene comes around. She had the taste as well as the craft for a lucid and disarming character portrait."

Also in the Broadway cast were Ben Gazzara and her third husband, Anthony Franciosa, of whom she later wrote: "If there had been an Olympic sex team that year, Tony would have been the champion." They later divorced.

Ms. Winters began writing short plays, culminating in a series of one-acts produced off Broadway in 1970 under the title "One Night Stands of a Noisy Passenger." In the cast was a young Robert DE Niro, who also played her drug-addicted son in Roger Corman's film "Bloody Mama" (1970).

Many of her later roles were Jewish-mother parts, from "Next Stop, Greenwich Village" (1976) to "The Delta Force" (1986). Her last film was the Italian farce "La Bomba" (1999), which reunited her with her second husband, the Italian stage and film actor Vittorio Gassman. She said they divorced in 1954 after she discovered him romancing his 16-year-old Ophelia in a production of "Hamlet."

Her first marriage, to a Chicago textile salesman named Mack P. Mayer, also ended in divorce.

Survivors include a daughter from her second marriage.

 

Is there a way to tell what time a message is posted?  Sometimes I would like to know when a "Word Help" has been posted....if it is new or if it has been there for too long to help.  Thanks.

nm