80s movie bombshell unrecognizable 42 years after hit comedy and dating Al Pacino – can you guess who she is?
The 73-year-old was casually dressed in jeans and a striped shirt and sported long hair while on a shopping trip.
4
4
4
Beverly D'Angelo is most known for playing the main character Ellen Griswold in the hit series of National Lampoon Vacation films.
Her alter-ego was married to character Clark Wilhelm Griswold Jr AKA Sparky.
There are a number of movies in the franchise including National Lampoon's Vacation, National Lampoon's European Vacation, National Lampoon's Christmas Vacation, Vegas Vacation and Vacation.
The movies were released between 1983 and 2015.
Fans were also treated to a spin-off that aired in 2003 called National Lampoon's Christmas Vacation 2.
Beverly has also appeared in numerous other TV shows and films over the years.
Her roles include Law & Order, Family Guy, The Simpsons and Cougar Town.
Others include A Streetcar Named Desire, Hair and American History X.
Last year, Beverly D'Angelo performed onstage at the Ryman Auditiorum in Tennessee as part of Walkin' After Midnight: The Music of Patsy Cline.
Outside of her 50-year-long career, she is known for her high profile relationships.
National Lampoon star, 72, has barely aged a day in 40 years since hit movie as she performs onstage at Patsy Cline tribute
In 1981, Beverly married the Italian duke Lorenzo Salviati in a secret ceremony in Las Vegas.
The pair met while Lorenzo was a student at the University of Southern California and they went on to have an open relationship.
Then, in 1996, while on a flight to New York City, Beverly met the The Godfather actor Al Pacino and they hit it off.
Beverly eventually ended her relationship with Lorenzo and went on to date Al Pacino for five years.
AMICABLE EXES
In 2001, the pair welcomed twins, Olivia and Anton, before splitting in early 2003.
In a recent Instagram post celebrating Al's birthday, Beverly wrote: "We lived together for seven years, had two children, broke up, but continued steadily on our journey as co parents…
'... and came to share our lives with a deeper kind of intimacy, honesty and acceptance than a 'traditional' relationship would have allowed (for us at least)."
Beverely and Al remain good friends, with Beverly previously telling PEOPLE: "The greatest gift that Al ever gave me was to make me a mother."
4
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Independent
a minute ago
- The Independent
Russian soprano's case alleging national original discrimination against the Met Opera to proceed
A federal judge says Russian soprano Anna Netrebko can move forward with her case claiming national original discrimination by the Metropolitan Opera, which dropped her after she refused to repudiate President Vladimir Putin over Russia's campaign against Ukraine. The decision by U.S. District Judge Analisa Nadine Torres in Manhattan was made public Wednesday, a day after it was issued. The case, which will proceed alongside her claim of gender discrimination, has yet to be scheduled for trial. The Met did not immediately respond to a request for comment. Met General Manager Peter Gelb had demanded that she repudiate Putin shortly after Russia invaded Ukraine in February 2022, but she refused and was withdrawn from three Met productions. The Met replaced her with Ukrainian soprano Liudmyla Monastyrska in at least one of those productions. Last August, Torres dismissed the performer's national original discrimination claim, when she also threw out allegations of defamation and breach of contract. But in her latest decision, the judge wrote that the 'allegations support the inference that Netrebko's replacement by non-Russian artists occurred under circumstances giving rise to at least a 'minimal' inference of discrimination.' The American Guild of Musical Artists filed a grievance on Netrebko's behalf and arbitrator Howard C. Edelman ruled in February 2023 that the Met violated the union's collective bargaining agreement when it canceled deals with Netrebko for three productions. Edelman awarded compensation the union calculated at $209,103.48. Torres allowed Netrebko to proceed with her separate allegation of gender discrimination under the New York State Human Rights Law and New York City Human Rights Law. She said the Met treated Netrebko's male counterparts with connections to Putin and the Russian government more favorably. She cited bass-baritone Evgeny Nikitin and baritones Igor Golovatenko and Alexey Markov, who have continued to sing at the Met.
The Guardian
29 minutes ago
- The Guardian
‘I'm a badass': how Lady Pink took on the macho men of New York's graffiti scene
Lady Pink was five when she killed her first snake – with her bare feet. 'That shows what a precocious and fearless kid I was,' says the 61-year-old. Even over the phone from upstate New York, the venerated graffiti artist is a force to be reckoned with, talking at a breakneck tempo punctuated by bursts of raucous laughter. There's a sense that this energy might quickly combust too – she admits she 'totally lost it' while preparing for her current solo show, Miss Subway NYC, at D'Stassi Art in London. The exhibition sees her vividly recreate a New York City subway station. There are paintings in eye-popping colours depicting trains, train yards and playful portraits of the characters you typically see there: a busker in a cat costume, an elderly lady with a shopping cart and a chihuahua. With the help of her husband, fellow graffiti artist Smith, she has even meticulously reproduced layers of tags on the walls from her halcyon days, when she would risk arrest – and sometimes her life – to spray across the city at night. On the show's opening night, more than 1,000 people showed up to pay their respects to the grande dame of graf. Lady Pink was born Sandra Fabara in Ambato, Ecuador, in 1964. Her story begins on her grandparents' sugarcane plantation in the Amazon rainforest – a vast, wild terrain that, like the snake who met its fate at her feet, didn't intimidate her. Her mother had returned after leaving Pink's father, an agricultural engineer who was a 'womaniser, gambler, cheater … '. As soon as she had enough money, when Pink was seven, they left Ecuador for New York City. 'When we came here, we had no papers, we didn't speak the language.' Pink was a self-assured, determined and talented kid who quickly learned how to channel her pain and grief into creativity. She first got into graffiti at 15, after her boyfriend was arrested for tagging and sent to live with relatives in Puerto Rico. 'I cried for a whole month, then I started tagging his name everywhere.' A painting in her London show of the artist as a teen kissing a handsome boy pays tribute to this defining moment in her personal history. When she started high school in Queens, she met 'kids who knew how to get into yards and tunnels. The more they said, 'You can't, you're a girl,' the more I had to prove them wrong. I was stubborn as a mule. I was crazy.' As one of the only women accepted by the notoriously macho graffiti scene in New York in the late 1970s, she quickly gained a reputation for tagging subway trains. 'We are like a guild, a clannish, tribal group who go out at night and watch each other's backs.' She later earned her official moniker 'Pink' from a fellow member of TC5 crew, Seen. 'I was the only female in the city painting, and I needed a female name so everyone would know our crew tolerated a female,' she explains. 'I knew I was the token female and that got my foot in the door – but to keep up with the big bad boys, I had to back it up with real talent too. There was sexism of course, but I'm a little bit of a badass. I don't appreciate being walked over and I stand up strongly for myself. Even if I'm petite, I'm loud. Don't judge me by my size, judge me by how big and fast I paint!' She added the 'Lady' title – at first inspired by the European nobility in the historical romance novels she was reading. 'But I don't write Lady – I'm terrible at the letter Y.' Later she used the Lady title to avoid confusion with the pop singer of the same name – who approached the artist to design her first album cover. 'I said, 'Hell no!' Are you kidding me? But she's a fan, I'm not going to say anything bad about her, she's fine, she sings fine.' As a young woman out at night in New York's most insalubrious neighbourhoods in 1979, Pink was especially vulnerable. 'I would dress like a boy and pretend to be a boy. The teens I ran with weren't much bigger than me and I knew they weren't there to protect me if shit went down. You're in the worst neighbourhoods of New York City relying on the kindness of strangers to save your life – you've got to be prepared. What happens in the dark alleys of cities, you don't want to know. You shake a spray can and hope they let you live.' 'Bombing' subway trains is one of the most perilous activities of graffiti – 'loads of kids have died doing it, getting run over by the trains or electrocuted. It still happens. It's live electricity: if you touch the rail you will die.' How did she survive? 'You don't stumble in like you're drunk, it's like a military manoeuvre. You know the train schedules, where to walk, where to hide. You have all of that figured out ahead of time. You need to be sure where you're going when you're running like panicked rats in the dark maze.' Sign up to Art Weekly Your weekly art world round-up, sketching out all the biggest stories, scandals and exhibitions after newsletter promotion Still, there were more than a few close calls over the years. She recalls she once sliced her finger open and 'it was bleeding badly, it was a terrible cut and I probably should have had it stitched, but I just stuck it in my pocket and it quietly bled in there. I didn't want people to say: 'Oh you're a girl you're hurt and crying, you're going to slow us down,' – you've got to be a good soldier.' Another time, there was a near miss with an unforeseen moving train. 'I had gone to pee and I thought I could just walk it,' she laughs. 'Then there was a train coming and it was doing a weird curve, slanting into the wall. At the last minute I ducked, but if I had stayed standing the train would've taken my head off. After that, I just ran at top speed. I can't believe I survived it.' The 1980s were a whirlwind. She rose to fame in 1983 after featuring in Wild Style, the cult film that launched American hip-hop culture globally. Her spray-painted canvases, horror vacui compositions with bold, attention-grabbing colours of scenes inspired by the street, began to be accepted in conventional, legal art spaces, and in 1984 she was included in MoMA PS1's The New Portrait alongside Alice Neel, Jean-Michel Basquiat and Keith Haring. 'No one was aware it was going to launch anything, we were just in it for the moment and the money. People told us the art market was fickle and eventually we'd have to get jobs.' Once she invited Haring to come to paint a train with her. 'Just me and him, no machismo – but dude was not down, he didn't want to cross the line of breaking laws. What he did was chalk on boards. He was a white dude; he wasn't incurring any kind of arrests. They weren't graffiti artists, but they were the original street artists. Graffiti artists work with spray, with fonts – and we hit stuff with wheels.' Pink also received an invitation from Jenny Holzer, who was wheatpasting her Truisms posters in Manhattan. 'We were like the only women going out at night doing things. She was a tall lady, like two metres, she would wear a hoodie and a big coat so she could pass off as a man going around at night alone. I am very small and I couldn't pass off like that, so I had to run with a crew. She reached out to me and suggested we collaborate.' Holzer had done up an entire building in the Lower East Side. 'It was wild out there at that time, there were a lot of people doing drugs, there was a lot of crime. But she made this beautiful, safe building, and I loved going there and working with her.' Holzer would prep three-metre-square canvases for Lady Pink to spray paint her images on, and Holzer paired them with text. The works were later shown at MoMA and Tate Modern. In 1983, 19-year-old Pink was photographed by Lisa Kahane wearing a vest emblazoned with Holzer's famous words: 'Abuse of power comes as no surprise' – in 2017 the photo went viral as an emblem of the #MeToo movement. Though artwork sales and interest did wane in the late 1980s, Pink pivoted. She set up a mural company with her husband, doing public commissions and working in communities. While many of her peers 'couldn't handle the business, they couldn't leave the ghetto behind, they couldn't show up on time or answer a phone call', she says she was able to 'adapt to polite society. Artists don't know how to hustle, and you've gotta hustle, hustle, hustle. Some don't have the cojones. But good grief, you've got to go knocking on doors!' She stopped illegally painting subway trains decades ago – 'now I save my crazy for the galleries' – but the spirit of the subway lives on in the London show. And she says she's still paying the price for her years of youthful rebellion. Twelve years ago, she and her husband moved upstate after 'one too many' police raids on their home in NYC. 'They took my stuff – including my husband – and messed with us. We had to spend money on an expensive attorney. They've told me to stick to the indoor stuff and not paint big old murals because they inspire people. I said yeah – community people, poets, artists, I should hope I inspire people!' One thing is for sure: she doesn't have any regrets. 'Street art is the biggest art movement, we are in every corner of the world. By whatever means possible, we are taking over this world, it's our whole plan! I think it's cool, man – you've got to take control of your environment. You don't need an MA to be an artist, you just need a little paint plus a little courage. Just do it!' Lady Pink: Miss Subway NYC is at D'Stassi Art, London, until late September.
The Guardian
32 minutes ago
- The Guardian
Self-belief and sex eggs: 10 things we learned about Gwyneth Paltrow from an explosive new biography
When the author Amy Odell approached Gwyneth Paltrow's publicist about her plans for a biography of the actor, Goop founder and wellness pioneer, she was told that Paltrow would be glad to participate – if she was allowed to 'factcheck' the book. Odell didn't agree. Her line to Paltrow eventually fell silent, and her book, Gwyneth, has just been published to much buzz, without the star's participation. Paltrow, a source claimed to Odell, 'invented ghosting'. Now, post-publication, you can picture dozens more being cast out of her golden glow. Odell spoke to more than 220 people for her book, on and off the record; more rebuffed her. 'Many were terrified to talk about Gwyneth,' she writes. The result is nonetheless thoughtful, fair and fastidiously researched – even without Paltrow's oversight. It is also brimming over with gossip. Here are 10 standout topics. Paltrow's pedigree makes many of the 'nepo babies' (lately singled out for having been given a leg-up into Hollywood) look like competition winners. Her mother, Blythe Danner, is a critically acclaimed actor of stage and screen (best known to a younger generation as the mother in Meet the Parents). She met Bruce Paltrow when he was producing one of her plays. Gwyneth and her younger brother, Jake, grew up in a five-storey brownstone close to Central Park in New York. She attended the Spence school, a private girls' school on the Upper East Side, along with Mick Jagger's daughter Jade and the princesses Alexandra and Olga of Greece ('their last name just 'of Greece',' adds Odell). Her parents' connections came into play before she had even finished school. For her senior project, she covered a Bonnie Raitt song – accompanied by Steely Dan's singer, Donald Fagen. Soon after, at 19, she landed a speaking part in Hook, directed by Steven Spielberg – her godfather, 'Uncle Morty'. (He called her 'Gwynnie the Pooh'.) Many years later, Paltrow would tell Vanity Fair that fame had felt to her 'like a predestined thing' – that she had known her 'whole life that this was going to happen'. Blythe and Bruce weren't as confident that acting would work out, Odell writes: they wanted their daughter to have 'a backup plan'. After Paltrow was rejected from Vassar College, her parents asked their friend, two-time Academy Award-winner Michael Douglas, to put in a word at his alma mater. She was accepted by the University of California, Santa Barbara (Douglas gets it done!), but ended up dropping out. Studying film, she had been dismayed to find Uncle Morty on the syllabus. 'I'm sitting here learning about people I know,' another aspiring actor recalls Paltrow complaining. Bruce cut her off financially, and she was forced to get a waitressing gig (though again, through her parents' connections). 'I remember she was so mad about it,' the actor told Odell. Years later – after she had won an Oscar for Shakespeare in Love, broken off her engagement to Brad Pitt and gone, according to one account, 'totally Hollywood' – Bruce sought again to keep his daughter humble, telling her she'd become 'kind of an asshole'. Paltrow was 'devastated', she said, but eventually grateful for the course correction. Fame had gone to her head, she admitted: 'There is nothing worse for the growth of a human being than not having obstacles and disappointments.' Pitt and Paltrow met in 1993, auditioning for Legends of the Fall. She was passed over for the part but made an impression on Pitt, who went on to suggest she play his character's wife in David Fincher's Se7en. Paltrow had also been offered Feeling Minnesota alongside Keanu Reeves. As she dithered, a helpful friend suggested: 'Who do you want to date, Brad Pitt or Keanu Reeves?' Paltrow said yes to Se7en. Not long into filming, she and Pitt were together – delighting her father, who reportedly crowed to a friend: 'Can you believe my daughter? It's fucking Brad Pitt!' According to Odell, Paltrow was never so certain, finding Pitt – from a southern, conservative, religious background – a bit beneath her. 'When we go to restaurants and order caviar, I have to say to Brad, 'This is beluga and this is oscietra,'' she told an interviewer. After two years together, they broke off their engagement. She went on to date Ben Affleck, who she found to be more her intellectual match (not to mention – as she disclosed only in 2023 – a 'technically excellent' lover). But Affleck's addiction issues, penchant for video games and what one of Paltrow's friends remembers as his 'kind of miserable' vibe prevented the relationship from progressing. Cigarettes may have been Paltrow's first love. She started smoking in her first year at Spence, much to Bruce's displeasure. Seeking to get his teenage daughter to quit, he once again leaned on his connections, calling in a favour with his friend's son's new wife – AKA Madonna – asking her to 'write a note to Gwyneth to discourage her'. According to Odell, Madonna happily played model, describing her average day: 'I wake up, I don't smoke … And I go home a happy healthy me. … PS: Good girls live longer.' Gwyneth showed the letter off at school, then displayed it, framed, in her bedroom – and continued to smoke 'a pack a day, probably' until she was 25. She eventually quit in September 1997 after spending three days marooned on a deserted island in Belize. Paltrow had requested the experience as a condition of guest-editing an issue of Marie Claire. Magazine budgets were bigger back then. Odell describes Paltrow as being ambivalent about fame – and scornful of 'tacky, pointless, big, fluffy, unimportant movies'. She found her professional home in Miramax Films, Harvey Weinstein's production company, after being cast in the 1996 adaptation of Jane Austen's Emma. Odell describes Weinstein working hard to make Paltrow a star, throwing his formidable weight and influence behind her Oscar bid for Shakespeare in Love. Her 1999 triumph over Cate Blanchett (nominated for Elizabeth) was later attributed to Weinstein's intense campaign. Even Paltrow had her doubts, betting a pair of CAA agents $10,000 she wouldn't win. (She made good, going to the bank the morning after the ceremony.) But being Weinstein's 'golden girl' didn't come without costs, least of all pressure to do lacklustre parts or press. As Paltrow told the New York Times for their seismic #MeToo report, early in her working relationship with Weinstein, he made a pass at her at a Beverly Hills hotel. (Weinstein disputed her account.) In their book She Said, the journalists Jodi Kantor and Megan Twohey describe Paltrow's pivotal role in their investigation. 'When so many other actresses were reluctant to get on the phone and scared to tell the truth … Gwyneth was actually one of the first.' As well as having been born rich, beautiful and well connected, Paltrow is described by Odell as possessing some 'exceptional, if hard to define' X-factor, registering as far back as her school days. This worked against her as much as it did in her favour. Even before becoming an Oscar winner aged 26, Paltrow feared overexposure in the press. Her tearful acceptance speech, coupled with news that her father bought her the diamond necklace she'd been loaned for the ceremony, turned the public against her. Building women up before tearing them down is now a well-worn cycle, Odell notes, pointing to Anne Hathaway and Blake Lively (you might also add Jennifer Lawrence and Taylor Swift). Paltrow was one of the first victims, if not the blueprint. In 2013, she was named Star magazine's most hated celebrity, 19 spots above Chris Brown, who had been arrested for assaulting Rihanna four years earlier. 'Gwyneth would never manage to outrun' the contempt, Odell writes – perhaps influencing her subsequent decision to make it work for her with Goop. Paltrow was ahead of the curve with many modern movements and trends; body positivity was emphatically not one of them. Schoolmates recall her evident 'disdain for fat people'. One remembered changing into swimsuits next to the 'naturally skinny' Gwyneth, and her comment: 'Isn't it interesting how different people's bodies are?' In her senior yearbook, alongside Gwyneth's chosen quote from Bill & Ted's Excellent Adventure, editors specified her nightmare: 'Obesity'. Later, when she was famous, she allegedly paid for a school friend to undergo an abdominoplasty (or 'tummy tuck'). Paltrow's defining interest in healthy eating, alternative medicine and 'wellness' began after her father was diagnosed with throat cancer. While caring for Bruce, she began researching preservatives, pesticides and environmental toxins; she started following a macrobiotic diet and doing nearly two hours of yoga before dawn, six days a week. Meanwhile, she was also shooting Shallow Hal, 'spending her working hours in a fat suit', Odell observes. Doing press, Paltrow described the film as a 'love letter', and the experience of making it as edifying. 'I got a real sense of what it would be like to be that overweight, and every pretty girl should be forced to do that.' Along with her passion for 'alternative' ideas of health, the seeds for Goop had been sown years earlier, on the sets of Jefferson in Paris and The Talented Mr Ripley. In Paris and Ischia, Paltrow tapped local crew for their recommendations for the best hotels, restaurants and shopping on location – insider info around which she would later build a lifestyle brand. In 2007, she shot a public television show about Spanish cuisine – 'a novel premise' at the time, Odell notes (and one that riled the late Anthony Bourdain, who said of the series: 'Why would you go to Spain with the one bitch who refuses to eat ham?'). Paltrow was married to Coldplay's Chris Martin by then, with two young children, and she was beginning to tire of acting. After the success of Iron Man in 2008, she turned to her side project: an online newsletter. Goop sought to 'nourish the inner aspect', but timing was not on its side. The website launched the week after the stock market crash; Jezebel declared Paltrow 'about as publicly savvy as Marie Antoinette'. Yet she was proved right in her instinct to let them eat banana-nut muffins (her inaugural recipe). In 2008, the wellness industry 'was barely even measured', Odell writes; today it is valued in the trillions. Paltrow was probably one of the first celebrities to conceive of herself as a brand, paving the way for today's saturation of product lines and endorsement deals – and shaping consumer culture. Among the trends and treatments she helped to popularise were Spanx, cupping, gluten-free diets and, more recently, mouth-taping. Even the bonkers ones took off with Goop's endorsement. After a 'vaginal steaming' treatment featured in its 2015 Santa Monica city guide, bookings doubled. Odell describes Paltrow being unfazed by controversy, and even relishing it as good for business. In 2017, Goop went viral for featuring an egg-shaped stone, designed to be inserted vaginally and worn (?) overnight (!) so as to 'balance the cycle' and 'invigorate our life force'. In a staff meeting, Paltrow was reportedly staunch in the face of ridicule: 'Goop defined the concept of modern wellness … Let's own it.' Once again, she was right. The company had ordered 600 'Yoni' eggs; after the backlash, the waiting list to buy them, for about $60 each, was 2,000 names long. When Goop was sued the next year by regulators for making allegedly unlawful health claims, Paltrow chose to pay $145,000 to settle, without admitting wrongdoing; the claims about the eggs disappeared from Goop's website, but they were still on sale earlier this year. Odell notes the irony: for all Paltrow's enthusiasm to factcheck her biography, she was not so exacting or hands-on with the articles published on Goop. Among the famously dubious claims platformed by the site were the healing powers of celery juice and raw (unpasteurised) goat milk, a possible link between bras and breast cancer, and every word uttered by Anthony William, the so-called 'medical medium'. ('We used him when we needed page views,' one former Goop employee admitted to Odell.) Odell makes a valiant effort to factcheck every claim she references in her book, quoting medical experts and Paltrow's many critics to counterbalance all the Goop. But, at a certain point in the narrative, you sense it become futile: wellness is no longer a celebrity foible, a trapping of 'Gwyneth's extravagant and eccentric life', but the water we are all drowning in. On social media, influencers – many in Paltrow's image – spread advice with little oversight or regulation, while trends have had to become more extreme to cut through the noise. After 20 years of Goop, the world has become harder to shock, more receptive to 'alternative' ideas of health and medicine, and even sceptical of science. Today the wellness industry is as big as the US pharmaceutical and agricultural industries combined. By stoking fear about 'toxins', encouraging people to 'do their own research' and seeding distrust in the medical establishment, Paltrow – Odell suggests – paved the way for the conspiratorial, anti-expert, post-truth thinking now embedded in Donald Trump's White House. Both Paltrow and Robert F Kennedy Jr – Trump's vaccine sceptic secretary for health and human services – are avowed fans of raw milk; the real harbinger of end-times will be if she starts eating red meat. Meanwhile, Paltrow continues to sail through with the seemingly untouchable self-belief that has made her such a compelling celebrity to adore, abhor and emulate. 'She is fucking borderline brilliant,' Odell quotes a former Goop executive as saying. 'GP knows exactly what she's doing.'
