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Cleo Madison was an advocate for feminism and showed that through her film work.https://wfpp.columbia.edu/pioneer/ccp-cleo-madison/ Most intriguingly, existing accounts of Madison’s life and career seem not to have noticed her marriage in November 1916 to “Don Peake of San Francisco, western sales manager for the Briscoe Motor Corporation,” although the Los Angeles Times noted the event (IV12). A records request to Riverside County, California, returned the marriage license included here. The date, groom’s name, and location on the certificate all match the details in announcements of Madison’s marriage, but the bride is identified as Lulu Bailey. Two items make it possible to confirm that Cleo Madison, Lulu Bailey, and Lulu Peake are the same person. First, a 1916 Motography story identifies Cleo Madison’s invalid sister as Helen Bailey (622). Also, Universal credited Grace Helen Bailey as the author or scenarist of nine titles between 1915 and 1917. Second, in 1917, Lulu Peake filed a complaint for divorce, included here, that identifies her as an actress. The case was dismissed in July of 1918, which makes it uncertain whether the Peakes actually divorced. In addition to providing Cleo Madison with what was likely her birth name, these sources offer a possible explanation for the redirection of Madison’s career in late 1916. The divorce complaint paints Peake as a violent husband jealous of his wife’s work. It should be noted, however, that marriage was not the only development in her life that year. Articles in late 1916 and early 1917 in the Los Angeles Times as well as the Exhibitor’s Trade Review and Moving Picture World indicate that she planned to start an independent production firm called the Cleo Madison Film Corporation with former Universal General Manager Isadore Bernstein. Further research will be necessary to understand these developments.