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My wise 100-year-old friend Frances: ‘I used to pursue people who didn't like me. I don't have to do that any more'

My wise 100-year-old friend Frances: ‘I used to pursue people who didn't like me. I don't have to do that any more'

Irish Times06-07-2025
Frances and I were time travellers.
She was born in 1925, and was 94 when we met. Starting with Calvin Coolidge, she lived through 17 American presidents. Frances had more friends – and more stories from the last American century – than anyone I knew. After I watched the film noir Born to Kill (1947) she told me she knew the film's roguish star Lawrence Tierney. He was a piece of work in the film and, she told me, he was no cakewalk in real life either. In my mind, we were friends before I was born. I see pictures of Frances as a young woman, and I think, 'I know her, too'. I imagine us both aged 35, laughing our heads off in PJ Clarke's on 3rd Avenue, circa 1959.
Frances Ballantyne, who died on June 10th aged 100, had quite a life. She used to say, 'I have a lot of acquaintances, Quentin, but very few friends.' I took that as a hint, not that she was icing me out of her knitting circle, but that she counted me among those she held dear. I was honoured to be included among her friends.
Grace Kelly
's father taught her how to play poker, and she once appeared in newspaperwoman Dorothy Kilgallen's New York Evening Journal Voice of Broadway column as 'the girl in the red raincoat with the sad eyes'.
But Miss Frances didn't have sad eyes for very long, not for most of her 100 years, anyway; she had curious eyes even when she lost her sight. She had eyes burning with a fire that consumed books, jazz, politics and Life – not the magazine, but that thing that is all around us, all the time. I called her almost daily during lockdown and, at 7pm every evening, we listened to a tentative, faraway trumpet together on the telephone, sounded in honour of medical workers. She thought it was a child on the trumpet. I guessed it was a young adult still learning how to play.
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She 'saw' me, even though she was blind by the time we met each other. I loved seeing myself through her eyes. I felt good about myself when I was around her. It's funny to have a friend who has never seen your face. I endeavoured to help her out with that: 'How do I describe myself? Do you know Brad Pitt?' She'd shake with laughter. She knew that I didn't look anything remotely like Brad Pitt. Born into an Irish-American family in Connecticut, she never liked cod or porridge because she ate so much of it during the Great Depression.
Frances Ballantyne and Quentin Fottrell on the Upper West Side
We signed up for tap-dancing classes on 72nd Street. Frances asked, 'Quentin, what colour is your tutu?' Every week I described a different colour; sometimes they were shorter and had more ruffles. She got a kick out of that and, the greatest compliment of all, she got a kick out of me, the good and the bad and the exasperating, which meant a lot, because she was a pretty tough customer. Once she ordered me to call a fellow, who I had nothing in common with, to cancel a planned second date. She was fair and she was kind. As someone with little time left, she didn't want me to waste any of it.
She moved to New York in the 1940s, and hung out on the stoop of her brownstone in Hell's Kitchen in the 1980s, where her neighbour, a young actor called Kathy Bates, would shoot the breeze and have a beer. She slept in Central Park with other New Yorkers in the era before air conditioning. They carried gas cylinders up the stairs to the tenement flat; the smell of gas got into their clothes. Wiseguys from a nearby Italian restaurant protected Frances and her girlfriends from men who tried to harass them. New York city, I knew from her personal experience, could be a glamorous place, but also dangerous for women in a world before CCTV.
When Frances turned 100, I told her she was my only 'centurion' friend. I meant to say 'centenarian', but I didn't correct the record. 'You are a centurion,' I said. She fought the good fight for more years than I have been alive. In the 1980s, during the height of the Aids epidemic in New York, she recalled how some people jumped up from a park bench if a person with symptoms of Kaposi sarcoma sat down. It was important for her never to forget. She had in-depth knowledge of JFK's domestic and foreign policies, and did not put him on a pedestal like other Irish-Americans. I had never before had a friend like Frances, and I probably never will again.
'Quentin, New York is my home. My roots are here. Your roots are in Ireland. That's your home.' Photograph: Leonardo Munoz/AFP via Getty
She was patient, funny, smart and a politically active New Yorker. Frances could argue her point, but she never lost her cool. We talked about sex, relationships and politics. Although she was a Democrat, she did have friends who were Republican. Even from behind her dark glasses, which protected her eyes from the light, she believed in dialogue over judgment. When a person who 'sees you' disappears into the divine, ethereal nothingness of time, or the afterlife, they leave a void, but she embarked on that journey, willingly and with dignity. Such was her strength, it took weeks for her to finally slip away.
Covid was one of the strangest eras she lived through, she said, but McCarthyism remained one of the darkest. She left us during the protests in LA, but she passed the baton during her lifetime. When Frances wanted to make a change, or file a complaint, she wrote directly to the chief executive officer. She trained as an actor, appeared in a TV comedy pilot, and among her many career trajectories, worked for an organisation that found housing for people with low income. She described herself, jokingly, as 'shanty Irish' and me as 'lace-curtain Irish', even though she had a well-known penchant for Campbell's loose tea. I, meanwhile, scoured the internet for Barry's.
She also taught me the difference between being alone and loneliness, and that the latter is an inside job
She taught me about friendship, letting the right ones in, letting go of needing to be liked by others, and the importance of liking and accepting yourself for who you are. 'Once upon a time I used to pursue people who didn't like me,' she told me. 'If I finally had them in my life, what did I do? I had people in my life that I was so upset about and I had to pretend that I liked them, and pretend that I was whoever it was they wanted me to be. I don't have to do that any more. This is who I am. The people who do like me are the people I want in my life and I am delighted to have them.' She spoke in a slow, considered manner, in those aged, earthy tones.
She also taught me the difference between being alone and loneliness, and that the latter is an inside job. 'I'm not uncomfortable being alone and I'm never bored,' she said. 'I accept my life a day at a time.' I felt guilty leaving New York, and our coterie of friends on the Upper West Side, but she said, 'Quentin, New York is my home. My roots are here. Your roots are in Ireland. That's your home.' I left a lot behind when I left Dublin, and I left a lot behind when I left New York. But her words made my decision easier. She knitted hats and scarfs for prisoners, and I took a couple of those, knitted with love and dedication, with me.
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Quentin Fottrell on a Dublin scam: After more than 10 years in New York, nothing like this had ever happened to me
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In school she was scolded by the nuns for having friends outside of her 'own kind'. She was friends with people of all religions and cultures – gay, straight, black, white, Jewish, Christian – and when she told the nun that the Bible preached inclusivity and generosity of spirit, the nun slapped her. But that slap only propelled her forward. Her parents weren't thrilled either, but she found her own family in the Metropolis. She married three times and her first husband was black; interracial marriage was not at all common in the 1940s, but she lived by her own moral compass and her own social mores. Of course, she still voted.
She moved to New York at the end of the second World War, and she hung out in the West Village. When he missed the train home, James Baldwin crashed on her sofa. That was before he was a celebrated writer and cultural icon. But it was just a side note for Frances in a rich life that will mostly be known only to her. 'Not everything that is faced can be changed, but nothing can be changed until it is faced,' Baldwin said. Frances never stopped learning and listening to jazz. She had a ferocious curiosity. When she could no longer read, friends read to her and she rented countless audiobooks from the library.
Frances Ballantyne and Beth in Cafe Arte, New York
During one of our last dinners, I told her I had to have potentially
life-saving heart surgery
. At the end of our meal, our friend Beth, Frances and I all held hands. We sat in silence. I needed calm, and I needed courage. We had more than 200 years between the three of us. And yes, it made a difference. The quiet moments with loved ones are filled with a powerful, healing energy if you choose to seek it. Here was a woman with a life force in the 0.02 per cent – that's roughly how many people live for a full century. She was cool as a cucumber with bad news, and she was cool as a cucumber with good news.
She did regret never visiting Ireland, so memorialising her here is my gift to her. I'm not sure if Frances believed in an afterlife, but she talked about going to her cloud and, as our friends Beth and Kathrina reminded me, the first thing she wanted to do was apologise to anyone who needed an apology from her during her lifetime. In a world of selfies, Frances thought of how she could be of service to others, no matter their political beliefs. She worked hard to maintain humility. It was a daily practice. 'I am still interested in growing,' she said. 'I do have character defects that I'd like to get rid of. I need to change because I want to change.'
She may indeed now be on her cloud and, even if it's only in my mind's eye, it makes me fear death that little bit less
She did not complain, although she had plenty of reason to; she asked for help when needed and offered it to others when asked. She couldn't see, but she cooked every day and lived independently. But finally her time came. After days of semi-consciousness she had a lucid day and, when Kathrina put me on speakerphone, Frances said, 'Did you purchase your house yet?' Those were her last words to me. How could she care at a time like this, or even remember at a time like this that I was househunting? Because, simple as it seems, she was genuinely, wholeheartedly invested in other people.
Some of Frances's ashes were scattered by friends near the Eleanor Roosevelt Monument in Riverside Park. She may indeed now be on her cloud and, even if it's only in my mind's eye, it makes me fear death that little bit less. If she can exit so gracefully, perhaps so can I. That's the hope, anyway. For Frances to have a spiritual connection, she needed a human connection. That might be why her landline almost never stopped ringing. There's one way I can keep her around, and make sure she is never far away during my own lifetime. Whenever I am faced with a challenging situation, I can ask, 'What would Frances do?'
Frances Ballantyne, a New Yorker, was born on March 5th, 1925 and died on June 10th, 2025
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How Substack is upending media: ‘It is seriously challenging the old-guard message that people won't pay for writing'
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  • Irish Times

How Substack is upending media: ‘It is seriously challenging the old-guard message that people won't pay for writing'

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‘Elvis was, in many circles, considered an idiot savant... I wanted to take him seriously as a creative artist'
‘Elvis was, in many circles, considered an idiot savant... I wanted to take him seriously as a creative artist'

Irish Times

time3 hours ago

  • Irish Times

‘Elvis was, in many circles, considered an idiot savant... I wanted to take him seriously as a creative artist'

Now a grandmaster of American letters, at the age of 81, Peter Guralnick remains unique among his generation of music writers. His contemporaries – Nick Tosches, Paul Williams, Greil Marcus – leant heavily on voice, idiosyncrasy and myth, but the Boston-born biographer and critic (or, more often, evangelist) always placed himself beneath the narrative. I first learned of his work through reading Lester Bangs's speaking-in-tongues notes on Lost Highway: Journeys and Arrivals of American Musicians, Guralnick's book from 1979. The two couldn't have been more different; Guralnick is closer to a portrait artist, best known for his towering Elvis Presley biography, the exultant, inspiring Last Train to Memphis, which was published in 1994. 'The Elvis book was an extreme example of rigorous self-suppression,' Guralnick says with a laugh. 'I was determined to keep out of it completely. I don't think that's as true of any of the other books. What I was also determined to do was, to the best of my ability, rescue him from the mythicisation, the whole process of creating someone who was either a superhero or, in the case of the Colonel' – aka Tom Parker, Presley's manager – 'the way people perceived him as a super villain.' A stray phrase can create a universe. In his introduction to Last Train to Memphis Guralnick described a eureka moment, driving down McLemore Avenue in South Memphis in 1983, past the old Stax studio, when his friend Rose Clayton, a native Memphian, pointed out a drugstore where Presley's cousin used to work. READ MORE 'Elvis used to hang out there, she said; he would sit at the soda fountain, drumming his fingers on the countertop. 'Poor baby,' said Rose, and something went off in my head. This wasn't 'Elvis Presley'; this was a kid hanging out at a soda fountain in South Memphis, someone who could be observed, just like you or me, daydreaming, listening to the jukebox, drinking a milkshake, waiting for his cousin to get off work. 'Just to be there on that street where the First Assembly of God church was,' Guralnick says, 'and there's a boarded-up drugstore, and Rose says, 'Poor baby.' It just galvanised me, caused me to recognise the possibilities of not writing in this theoretical way about Elvis, which I had up until that time. 'I had that same kind of revelation when we got into the archives of Graceland through the good graces of Jack Soden' – president of Elvis Presley Enterprises, who opened the singer's mansion to the public – 'way back, and we started reading these letters. Then to have the advantage of the Colonel's widow, Loanne – I was just going to do [a book of] the letters, because I thought they offered a window into an interior story, but she became so caught up in the idea [of a biography], determined to do justice to Colonel.' And so, after Careless Love: The Unmaking of Elvis Presley, which appeared in 1999, we come to the third instalment of Guralnick's trilogy, The Colonel and the King: Tom Parker, Elvis Presley and the Partnership That Rocked the World. Guralnick has a taste for stalking phantoms, whether in Searching for Robert Johnson or Dream Boogie: The Triumph of Sam Cooke. In many ways 'Colonel' Tom Parker, born Andreas Cornelis van Kuijk in the Netherlands in 1909, was the archetypal American dream chaser, the self-created migrant, a man with no past, who might have fallen off the back of a truck like Frank Chambers in The Postman Always Rings Twice, before quickly establishing himself as a carny, then as a talent manager and promoter. Elvis Presley and manager Colonel Tom Parker in Miami. Photograph: NBC/Getty Images 'This is the ultimate American self-invention,' Guralnick concedes. 'And the way in which he invented himself is he used all of the aspects of his real self, his real background, his birth date, his interests, his love of animals, his love of the carnivals. He used all of them but transposed them to an America he sought out from the time he was 16 years old. 'Really, he wanted to be American before he could even speak English. He stowed away, got sent back at 16, came right back again. Here's what I wonder – you might have an angle on this, because Ireland has developed such a passion for country music, and for dressing up country and everything – but did he read comic books? Did he see movies? You know, I try to get in touch with him; I call him up many times in my dreams. I have yet to get an answer!' It must be a bizarre experience, I suggest, to immerse oneself so completely in a subject's life for years at a time. 'So much of that derives from [the biographer] Richard Holmes, from [his book] Footsteps, his framing of it, the way the person you're trying to write about, the character you're pursuing, you feel like you're gaining, you're gaining, you're gaining, and then he or she disappears around the corner: 'Where'd they go?' 'When I finished the Sam Phillips biography' – Sam Phillips: The Man Who Invented Rock'n'Roll , from 2015, about the founder of Sun Records – 'I said, 'That's it. No more!' I was thrilled with the Elvis book. I was thrilled with Sam Cooke; that was an immersion in a world that was so extraordinary and wide-ranging. 'Sam Phillips was more of a self-invented world, but there were no limits to it. It was without boundaries. I was convinced I didn't want to do anything further, because it involves such total immersion. What are the specifics? What was the colour of the sky on that day?' This is not a question of blame, but Elvis began to stumble in public Phillips 'became a great friend, but I would ask him these questions which really were of no relevance to him, and he would touch his head and say, 'You're making my brain hurt.' But he would make the effort. People really want to tell their own stories.' Tom Parker had long threatened to write his autobiography. (How Much Does It Cost if It's Free? was one his pet titles.) He never got there, but he was a prolific – some would say compulsive – letter writer, and many of his dispatches are collected in the new book. In some ways Guralnick, who knew the Colonel as an old man, has charged himself with fulfilling that vow. The character he reveals is far more complex, and more sympathetic, than the Machiavellian plotter of matinee biopics. For one thing, the Colonel steadfastly refused to interfere with Presley's creative process, always confining himself to business negotiations. Why did he get such a bad reputation? 'People like to mythologise. Elvis was, in many circles, considered sort of an idiot savant. I started writing about him when he put out those singles in 1967 and then the [1968 comeback] special and then From Elvis in Memphis, but I wanted to take him seriously as a creative artist. That was something that was more difficult for people to get their head around, just like Jerry Lee Lewis . 'Jerry Lee Lewis was a f**king genius. He was perceptive; he was insightful ... He was also, as he would be the first to admit, an idiot when it came to money, when it came to women, when it came to taking care of himself. But he was not a cartoon figure. 'Why did the Colonel get this reputation? One [reason] was nobody had any idea what he did. He was totally uninvolved in Elvis's creative process, but he was totally committed to furthering Elvis's creative process, and he signed on to doing that almost from the moment they met. Elvis Presley and his manager Colonel Tom Parker in Hawaii, March 1961. Photograph: Michael'Except for Sam Phillips, who didn't have the money to promote him, nobody else saw what Colonel saw, which was not necessarily the music that Elvis was doing but the vision that Elvis had. He saw Elvis as being entirely apart, and was prepared to set aside all the conventional success that he had achieved – which was the greatest success that anyone could achieve at that time within the world, with Eddy Arnold and Hank Snow – and he was prepared to walk away from that in a minute for this untried, untested, unproven kid that he saw unlimited potential in not for money but for artistic self-expression. 'I would say, until the mid-1960s, maybe even until Las Vegas, he was seen as the smartest manager in the business, somebody whose imperious sense of humour set him apart and above. I mean, who did Brian Epstein seek out when he wanted advice? Nobody ever questioned his integrity.' So how did this trailblazing character end up adrift, lost, purposeless, prey to a gambling addiction? 'This is not a question of blame, but Elvis began to stumble in public. After the glorious Las Vegas debut, descriptions of him in the New Yorker and New York Times as a God come down from heaven, his performances began to suffer, his abuse of prescription drugs became more and more evident. And the sense that he was stuck,' Guralnick says. 'All of a sudden, who is there to blame? Well, Colonel: 'He didn't give him the artistic opportunities. Colonel is stealing his money,' all this kind of thing. It's understandable in a sense. Colonel's perspective was the artist wears the white hat, the manager wears the black hat; the manager takes all the blame. 'The thing that came as a shock to me was the extent of the tragedy of the ending, on both Elvis's side and on Colonel's side. If you look at the portrait that I drew in Looking to Get Lost' – a collection of Guralnick's profiles – 'or in Careless Love, Colonel is a Falstaffian figure. I thought of him as a character who was untouched by any of this. And it's absolutely crystal clear from what Loanne told me, which comes straight out of her diary, her journal, how devastated Colonel was by his own addiction.' [ Priscilla Presley on marriage to Elvis: 'I knew what I was in for. I saw it from a very young age' Opens in new window ] In fact, The Colonel and the King contains a desperately sad photograph of Presley and Parker taken in Las Vegas in 1972. The singer looks completely out of it, and for the first time his manager appears fragile and frail. 'Isn't that awful? At first I said, 'I can't put that in the book.' And then I thought, it has to be in the book, because whatever was happening at that moment, it expressed so much of what you just described. It was like I thought Colonel was a lovable rapscallion, and as foolish as what he was doing was, he never overextended himself. He lost a lot of money, but he left Loanne with $1 million in the bank. He always had $1 million in the bank to cover both his and Elvis's potential losses. 'But, jeez, I mean, to be up three days in the casino and then just to go to bed, to be so overwhelmed, the devastation of the [final] tours – and again, this is not putting the blame on Elvis, but I think I may have used the words in Careless Love: it was like a folie a deux. Everybody was living in a fool's paradise. Everybody seemed to believe that Elvis could rise to the challenge. That was the crippling illusion that Colonel was under.' The Colonel and the King: Tom Parker, Elvis Presley and the Partnership That Rocked the World is published by White Rabbit on Tuesday, August 5th

US professional wrestler Hulk Hogan dies aged 71
US professional wrestler Hulk Hogan dies aged 71

Irish Times

time2 days ago

  • Irish Times

US professional wrestler Hulk Hogan dies aged 71

Professional wrestler Hulk Hogan has died aged 71, according to reports. The Florida native became a household name around the world in the 1980s with the WWF, headlining early WrestleMania events. He also built a career as a Hollywood actor, along with selling his image widely in advertising and as merchandise. TMZ reported that the wrestler died of 'cardiac arrest', citing the emergency call. READ MORE His family confirmed the death to Us Weekly. Hogan, born Terry Bollea, began his career in the ring in 1977, travelling to different territories in the US, including Florida, Memphis and Minneapolis, as well as spells in Japan. However, his career took off from 1983 when he began to wrestle consistently for the World Wrestling Federation, whipping up 'Hulkamania' among his fans and developing a large following. His rivalry with the 7'4″ French wrestler Andre the Giant helped to make him an international star as he headlined eight of the first nine WrestleMania events. After time out to develop his Hollywood career, he returned to the ring at World Championship Wrestling, a rival promotion, in the 1990s, joining the villainous NWO. His in-ring appearances became sporadic in the 2000s, but he remained in the spotlight through Hogan Knows Best, a reality TV show depicting daily life for his family. In 2016, he received a $31m settlement from the US website Gawker after he sued over the publication of sections of a sex tape featuring Hogan, effectively shutting down the publication. He later campaigned for Donald Trump, speaking at rallies. This is a breaking story and will be updated.

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